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"content": "\u003cp>I was about 10 minutes late. The Cherry Blossom Festival was happening at the same time and there was a lot of traffic resulting from the parade — confusingly, the Chinese Consulate is located in the Japantown area of San Francisco. As I had walked out the door, my husband quipped about how I was taking a folding chair that had been made in China to protest in front of the Chinese Consulate. It seemed, in itself, a fitting demonstration against the detention of internationally acclaimed artist and iconoclast Ai Weiwei.\u003c/p>\n\u003cp>Chinese officials in Beijing took the artist into custody on April 3 and he has not been heard from since. His computers and papers have been seized from his studio. I signed a petition for his release initiated by the Solomon R. Guggenheim Foundation — when I signed it online last week, I was number 700 something, but now it numbers more than 90,000 signatures. (\u003ca href=\"http://www.change.org/petitions/call-for-the-release-of-ai-weiwei\">Sign the petition here.\u003c/a>) Yesterday’s demonstration originated as a suggestion on Facebook by curator Steven Holmes and was then put into action by Creative Time, an organization that advocates for political art in public space. At 1pm hundreds of people gathered at Chinese embassies and consulates all over the world in an international show of solidarity for the artist. It was suggested that demonstrators bring a chair to reference Weiwei’s installation of 1001 chairs, titled “Fairytale,” in Kassel, Germany in 2007.\u003c/p>\n\u003cp>I parked about four blocks away from the site and walked up a leafy tree-lined street, noticing for the first time that it was a blustery spring day with a slight chill in the air. The demonstrators lined the sidewalk in front of the consulate in a very orderly fashion, organized in rows like outdoor pews. All manner of chairs had been put to service: aluminum lawn chairs and heavy wood chairs were intermixed with those collapsible canvas beach chairs with built in cup holders.\u003c/p>\n\u003cp>I recognized a few artists, including Enrique Chagoya, Kara Maria, and Cheryl Meeker. Courtney Fink, the executive director of Southern Exposure sat holding a sign that demanded Ai Weiwei’s release written in English and Chinese. I soon learned that the sign had been designed by artist Christine Wong Yap and distributed via the Internet. Art dealer Jack Fischer sat near the closed doors of the Consulate. Along the back row, a man with a cane sat holding a large laminated portrait of Ai — I overheard art dealer Cheryl Haines mention that this man had been crippled during the ’89 protests in Tiananmen Square. Haines, also the executive director of the \u003ca href=\"http://www.for-site.org/\">For-Site Foundation\u003c/a>, has worked with Ai on recent exhibitions in her gallery and in a series of site-specific projects at The Presidio. She was visibly emotional throughout the demonstration, simultaneously working her phone to solicit press attention while tending to those in attendance. Her staff moved through the small crowd constantly taking photographs and video footage, passing out buttons that read “Free Weiwei” and offering water in compostable paper cups.\u003c/p>\n\u003cp>Another button on offer featured the image of a single sunflower seed — a large platter of sunflower seeds was passed through the crowd, in reference to Ai’s “Sunflower Seeds,” the mountain of 10,000 hand-painted porcelain seeds that sold at Sotheby’s for more than $500,000 in February. The man seated to my left sat with a tiny dog on a leash — he had pinned one of the buttons on the dog’s collar. The man on my right, a British artist named Phil, observed how cold it was and suggested that it might be the beginning of a classic San Francisco summer (read: freezing) before mentioning that they were protesting by the hundreds in London. Further in the crowd of about 50 or 60 people sat a couple with their six-month-old baby boy, Elias. Elias wore a beanie cap that read “Who’s Afraid of Ai Weiwei?” and the whole family had matching custom printed t-shirts. A tremendous amount of documentation took place throughout the event. Dozens of people took pictures, some uploading the images immediately to Facebook and Twitter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point, Haines asked everyone to stand and to back away from our chairs. The rows were straightened for a photograph with the portrait of the artist arranged in the center of the empty arrangement. The group then collectively held a moment of silence in honor of the artist. Just as the crowd was about to disperse, a cameraman from Channel 5 arrived and everyone reassembled. Cheryl Haines implored the reporter to stay and gather footage, noting how vital press coverage would be to assist Ai’s plight.\u003c/p>\n\u003cp>The mood was somber, but there was a sense of purpose in the face of futility. An artist remarked to me that the Chinese government is baffled by why Americans are troubling themselves to inquire after a criminal. I overheard another artist say that she was used to this type of thing happening in her native Iran.\u003c/p>\n\u003cp>I wondered at the effectiveness of a demonstration on a Sunday when the Consulate was closed. But once viral, the plan was in motion. This too seemed a fitting tribute to the artist, who has used social networks to speak out against the Chinese government, most notably following the Sichuan Province earthquake in 2008. After those outbursts, Ai was so severely beaten by police that he suffered a brain hemorrhage that required emergency surgery and resulted in memory loss.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like me, there were legions of people who wanted to feel active and participated in the demonstrations yesterday. I went because I wanted to feel a sense of agency in a world that seems to be suddenly ruled by conservative ideology and brute force. While governments, including my own, produce media spin, I trust artists to know and tell the truth. By 2:30 people began to fold their chairs and disappear into the afternoon. While it lasted, the protest felt like an active way to object to repression, but now we have all returned to waiting. Somewhere out there, we hope, Ai Weiwei waits too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was about 10 minutes late. The Cherry Blossom Festival was happening at the same time and there was a lot of traffic resulting from the parade — confusingly, the Chinese Consulate is located in the Japantown area of San Francisco. As I had walked out the door, my husband quipped about how I was taking a folding chair that had been made in China to protest in front of the Chinese Consulate. It seemed, in itself, a fitting demonstration against the detention of internationally acclaimed artist and iconoclast Ai Weiwei.\u003c/p>\n\u003cp>Chinese officials in Beijing took the artist into custody on April 3 and he has not been heard from since. His computers and papers have been seized from his studio. I signed a petition for his release initiated by the Solomon R. Guggenheim Foundation — when I signed it online last week, I was number 700 something, but now it numbers more than 90,000 signatures. (\u003ca href=\"http://www.change.org/petitions/call-for-the-release-of-ai-weiwei\">Sign the petition here.\u003c/a>) Yesterday’s demonstration originated as a suggestion on Facebook by curator Steven Holmes and was then put into action by Creative Time, an organization that advocates for political art in public space. At 1pm hundreds of people gathered at Chinese embassies and consulates all over the world in an international show of solidarity for the artist. It was suggested that demonstrators bring a chair to reference Weiwei’s installation of 1001 chairs, titled “Fairytale,” in Kassel, Germany in 2007.\u003c/p>\n\u003cp>I parked about four blocks away from the site and walked up a leafy tree-lined street, noticing for the first time that it was a blustery spring day with a slight chill in the air. The demonstrators lined the sidewalk in front of the consulate in a very orderly fashion, organized in rows like outdoor pews. All manner of chairs had been put to service: aluminum lawn chairs and heavy wood chairs were intermixed with those collapsible canvas beach chairs with built in cup holders.\u003c/p>\n\u003cp>I recognized a few artists, including Enrique Chagoya, Kara Maria, and Cheryl Meeker. Courtney Fink, the executive director of Southern Exposure sat holding a sign that demanded Ai Weiwei’s release written in English and Chinese. I soon learned that the sign had been designed by artist Christine Wong Yap and distributed via the Internet. Art dealer Jack Fischer sat near the closed doors of the Consulate. Along the back row, a man with a cane sat holding a large laminated portrait of Ai — I overheard art dealer Cheryl Haines mention that this man had been crippled during the ’89 protests in Tiananmen Square. Haines, also the executive director of the \u003ca href=\"http://www.for-site.org/\">For-Site Foundation\u003c/a>, has worked with Ai on recent exhibitions in her gallery and in a series of site-specific projects at The Presidio. She was visibly emotional throughout the demonstration, simultaneously working her phone to solicit press attention while tending to those in attendance. Her staff moved through the small crowd constantly taking photographs and video footage, passing out buttons that read “Free Weiwei” and offering water in compostable paper cups.\u003c/p>\n\u003cp>Another button on offer featured the image of a single sunflower seed — a large platter of sunflower seeds was passed through the crowd, in reference to Ai’s “Sunflower Seeds,” the mountain of 10,000 hand-painted porcelain seeds that sold at Sotheby’s for more than $500,000 in February. The man seated to my left sat with a tiny dog on a leash — he had pinned one of the buttons on the dog’s collar. The man on my right, a British artist named Phil, observed how cold it was and suggested that it might be the beginning of a classic San Francisco summer (read: freezing) before mentioning that they were protesting by the hundreds in London. Further in the crowd of about 50 or 60 people sat a couple with their six-month-old baby boy, Elias. Elias wore a beanie cap that read “Who’s Afraid of Ai Weiwei?” and the whole family had matching custom printed t-shirts. A tremendous amount of documentation took place throughout the event. Dozens of people took pictures, some uploading the images immediately to Facebook and Twitter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point, Haines asked everyone to stand and to back away from our chairs. The rows were straightened for a photograph with the portrait of the artist arranged in the center of the empty arrangement. The group then collectively held a moment of silence in honor of the artist. Just as the crowd was about to disperse, a cameraman from Channel 5 arrived and everyone reassembled. Cheryl Haines implored the reporter to stay and gather footage, noting how vital press coverage would be to assist Ai’s plight.\u003c/p>\n\u003cp>The mood was somber, but there was a sense of purpose in the face of futility. An artist remarked to me that the Chinese government is baffled by why Americans are troubling themselves to inquire after a criminal. I overheard another artist say that she was used to this type of thing happening in her native Iran.\u003c/p>\n\u003cp>I wondered at the effectiveness of a demonstration on a Sunday when the Consulate was closed. But once viral, the plan was in motion. This too seemed a fitting tribute to the artist, who has used social networks to speak out against the Chinese government, most notably following the Sichuan Province earthquake in 2008. After those outbursts, Ai was so severely beaten by police that he suffered a brain hemorrhage that required emergency surgery and resulted in memory loss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like me, there were legions of people who wanted to feel active and participated in the demonstrations yesterday. I went because I wanted to feel a sense of agency in a world that seems to be suddenly ruled by conservative ideology and brute force. While governments, including my own, produce media spin, I trust artists to know and tell the truth. By 2:30 people began to fold their chairs and disappear into the afternoon. While it lasted, the protest felt like an active way to object to repression, but now we have all returned to waiting. Somewhere out there, we hope, Ai Weiwei waits too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This excerpted interview is part of an ongoing collaboration between \u003ca href=\"http://badatsports.com\">Bad at Sports\u003c/a> and Art Practical. The conversation with Herschend took place on March 15, 2011, as Jonn and his co-founder at \u003c/em> \u003ca href=\"http://www.thethingquarterly.com/\">THE THING Quarterly\u003c/a>, Will Rogan, were about to move into a temporary storefront office at the Kadist Foundation on Folsom Street in San Francisco.\u003c/p>\n\u003cp>________\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews: \u003c/strong>Your current body of work crosses the line between installation, performance, video, lectures, PowerPoints: a wide range of material that involves this larger thread that somehow seems to be either pulling the wool over the audience’s eyes or exposing the wool that had been pulled over their eyes. The first thing in your bio is that you were raised in an amusement park. Is that true?\u003c/p>\n\u003cp>\u003cstrong>Jonn Herschend:\u003c/strong> It’s true. My grandfather started an amusement park in the Ozarks on the Arkansas-Missouri border in the 1960s, called Silver Dollar City. My dad was involved in that as his son, and my mom worked there. It was an 1880s theme park, so there were people dressed up in costume.\u003c/p>\n\u003cp>So here’s the story: My grandfather was a vacuum cleaner salesman in Chicago when vacuum cleaners were all the rage. He cashed it in, and they bought a cave in the Ozarks. They decided that they would try to figure out a way to entertain people while they waited to go on a cave tour. I think the Ozarks at this point in time, even though it was the 1960s, were pretty exotic for a lot of people. There weren’t a lot of roads there; it was beautiful — there were great, beautiful rivers, and people would come down there from Chicago, because they thought it was a really amazing place to go. I guess it would be like going to Costa Rica today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They built this amusement park up over the top of the cave. They bought a steam train, they started building shops, and they had 1880s performers there. Then I came along. They would dress me up in costume when I was a little older and leave me in the steam train depot with the old timers. So I ran around this park as a kid, and I thought it was really cool, and as I went through elementary school I thought it was strange, but we were just part of the community.\u003c/p>\n\u003cp>Then, when I went to college and studied theatre, I was really embarrassed about it all because my friends were going off and studying — or going to do Summer stock, and to these amazing theatre companies up and down the East Coast. I went to Boston University and to this really tiny theatre department, and I would go back in the summers and be a train robber. So I did grow up with this backdrop of make-believe and entertainment, and people coming in and suspending belief. Now it’s more interesting to me than it was in college.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/EOTI-still-4.jpg\">\u003cbr>\n\u003cem>Embrace of the Irrational\u003c/em>, 2009 (video still); HD video; Photo: Lenny Gonzalez.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> I think you can make a direct thread between that and a lot of your work — in the way that you play with simulacra and reveal where the fictive experience falls away.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> I think that is definitely informing the work that I’m doing now. Because there is a willingness to suspend belief when you walk into a situation like that. Also, everyone who is experiencing those particular situations has something going on; I mean, going to an amusement park with kids is usually awful because they eat sugar and go crazy. Families are trying to keep it together, but someone’s crying and yelling. It’s just an intense experience.\u003c/p>\n\u003cp>There’s this background of angst that comes into it, this desire to be entertained, and then on the other side there are people who work in these situations, pretending to be characters. So there’s this fantasy — an exchange that both parties have in the situation — and I find that incredible.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>As well as the fantasy of the undue expectations that are placed around the experience.\u003c/p>\n\u003cp>\u003cstrong>JH: \u003c/strong>Totally. It’s like going to a museum today. What are the expectations at a museum? There’s no difference. I think culturally it’s different — we put it on a different plateau, but we’re paying money to go and have this experience. And it may not be a hillbilly who is going to have a street shooting with someone else from the Hatfield and McCoy side, but it’s definitely something that’s supposed to change us in some way. What is the role of art and what is the role of entertainment, and how do those — as the economy collapsed, and more and more institutions are looking for funding from the individual, as well — how do those things coalesce? What’s the difference between spending money and going to a museum or spending money and going to a baseball game?\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I think it’s interesting to relate this part of your history to your most recent self-portraiture piece — the self-portrait as a PowerPoint proposal for an amusement park. Could you talk us through that work?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> That piece was made for the Mattress Factory in 2009, but it’s actually going to be in the San Francisco International Film Festival this year. They asked me to do a portrait, and I just could not think of a portrait to do. I hadn’t done anything that was necessarily autobiographical; usually what I end up doing is fiction. I was thinking about the dichotomy of the experience; you suspend your belief and you come into the institution — in this case, the Mattress Factory — and what are your expectations?\u003c/p>\n\u003cp>There’s a leak in that piece, in the ceiling, that we created by drilling a hole. So even within the piece itself, you constantly have to ask yourself: is this real or is this part of the piece? In the front room, there is a PowerPoint proposal that is completely fictitious, about a guy proposing a rollercoaster, but it becomes a sordid tale about he and his coworker, who have an affair and get in a car wreck because they’re drunk.\u003c/p>\n\u003cp>The second part of the piece is a janitor’s closet that we built. It has a door that’s slightly open, that never closes fully and never opens fully. Viewers have to decide if it’s part of the piece or not, so they go behind the scenes. There is an 8mm projector in the cupboard that projects the true moment of my daughter going on one of those fairground swing-chair rides. She’s having so much fun; it’s just pure innocence and joy — that’s the real experience. I wanted to separate those two experiences, and have them operate in that space. I don’t think it was necessarily super successful, but it was a step for me. It was the first step for me to really think about my background.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> Oftentimes in your work there is a series of decisions that have to be made: how much am I going to embrace this? How much am I going to go along with the logic or the disintegration of the narrative that’s happening, and how much am I going to stay faithful to this before I veer off from it, or I discard it? That’s a process that I’m curious about. In one of the recent additions to \u003cem>THE THING\u003c/em> — the piece by Starlee Kine — is a very similar experience. Kine’s \u003cem>Cutting Board\u003c/em> contains a narrative about crying. The idea is that you’re supposed to use this board to chop onions and, actually, as you’re reading the story, which fades away the more you cut on it, it still provokes this very real emotion — or rather, interaction. I’m interested in the way you play with a viewer’s expectations and willingness to embed themselves with the narratives that you’re producing.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Yeah, that issue by Starlee Kine is awesome. That’s one of our favorite issues because she took the task fully to heart and really created something that \u003cem>is\u003c/em> the object but goes\u003cem> beyond\u003c/em> the object. I taught English literature at the high school level for six years, and when I was going to college to learn how to teach, reader response theory was all the rage. It was all about how to incorporate the reader. So I thought, what \u003cem>is\u003c/em> the reader’s response? What is the responsibility of the viewer, and what does that mean in art? How can I really actively engage the viewer? So part of it became, not a trick, but a way to create a scenario where the viewer had to become engaged in some way — whether they wanted to or not — to create a piece where there was a rift in the structure, and the viewer had to step up and fill that rift, and decide: is this serious or is this not serious? It’s out of great respect for the viewer that I think of these pieces when I put them together — not to mess with them or fool them, but to engage them. I think one of the best ways to do that is if you’re doing a live performance, and there’s something that seems to go wrong, really wrong.\u003c/p>\n\u003cp>I’ve seen this a couple of times in business presentations, where someone will freeze for a long time, and you just wonder, are they having a stroke? What’s going on? Then they get back into it. That’s a real moment. I think if I can take that moment and respectfully continue the piece with that drama incorporated, then there’s potential for a cathartic experience. That’s a goal of mine — to create a theatrical moment without the guise of theatre.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I think that’s the root of most successful performance art: the breakdown of that sort of audience-viewer relationship and the ambiguity that comes out of it. Reading through a lot of your earlier bodies of work, seeing them only described as text and photo, I feel awkward. How awkward would I be if some guy is giving a PowerPoint presentation and he starts breaking down? I think a lot of more recent performance work seems to avoid that issue.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> It’s true. The other side of this that I think about, and wrestle with a lot, is entertainment and how important it is. What role does entertainment actually play? I do feel that, as artists, we gave a lot up to the powers that entertain. And I think it’s important that we take some of that back. That doesn’t mean that we make things that don’t have any depth or meaning, but I think that’s something that’s being reexamined more and more now.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/presentation.jpg\">\u003cbr>\n\u003cem>Self Portrait as a PowerPoint Proposal for an Amusement Park Ride,\u003c/em> 2009; installation view, \u003cem>Likeness\u003c/em>, 2009. Courtesy of the Artist and the Mattress Factory, Pittsburgh. Photo: Tom Little.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I’m really interested in that myself — the idea of giving it up to television, Hollywood, the blogosphere.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> For a long time I think the intellectual side is what we got. We got to keep that, and anything that smacked of narrative or smacked of entertainment — well, there was already a place for that and that’s where people went for it. I think contemporary art became too austere.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I completely agree with that statement. I think one difficulty operating as a contemporary artist is that quite often if you reach towards humor, or if you reach towards entertainment, you pick up this patina that may be too pop or too commercialized, which is a ridiculous notion, but it marginalizes you away from potentially more active parts of the discourse. So, for people who aren’t familiar, what is \u003cem>THE THING\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> \u003cem>THE THING\u003c/em> is a project that Will Rogan and I started with a residency at Southern Exposure in 2007. It’s a periodical in the form of an object. We publish on objects. We work with different writers, artists, and filmmakers to produce an issue each quarter. We treat it like a magazine. It’s not a limited edition; we don’t think about it like that. It’s problematic because it is by default, and it’s also problematic because people have to deal with these objects and may not necessarily want them once they get them, because they’re secret. That’s been the idea behind it — it’s a secret before they come out.\u003c/p>\n\u003cp>Our ideal is that everyone uses the objects. But we also understand that some people won’t. The further we’ve gone along with it the more we’ve crept into the design scene. It’s really fun to work with designers. They consider the function of it much more than we do. We always consider the form.\u003c/p>\n\u003cp>\u003cstrong>Tess Thackara:\u003c/strong> Wasn’t there one issue that was a single shoe? It was like laughing in the face of the utility, because what can you do with one shoe?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> That was Allora & Calzadilla whose work is much like that — laughing in the face of utility. It was a shoe bound to a book. And it was called \u003cem>Problems and Promises\u003c/em>. The idea was that it’s this ridiculous conundrum where you have a shoe bound to a book that’s through the lace. That’s insane, and what do you do with it? Do you put it on your bookshelf? Do you put it in the closet? And the second part is that, for Will and I, the two represent two ways to gather knowledge. Are you going to put the shoe on, if you’re a size seven, and walk around with a book dragging behind you? Or will you use the book and leave the shoe there?\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> \u003cem>THE THING\u003c/em> Issue One was a window shade by Miranda July and there are two versions of the text. I received the one that says, “If this shade is down, I am not who you think I am.” Mine is hung adjacent to the window, so it’s always down. One of our neighbors came in once and read that, and turned to me and said, “Is that shade ever up?” — which I thought was just the best response to that piece. It implied that just seeing the piece calls into question what your relationship is to the person who is actually viewing it.\u003c/p>\n\u003cp>\u003cstrong>JH: \u003c/strong>Miranda had this really amazing vision of people all over putting the shades down in their apartments or houses in cities and the message being sent out to the world: “If this shade is down I’m begging your forgiveness on bended knee with tears streaming down my face.” That was the other one.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> As you mentioned earlier, one of the major requirements for all of these pieces besides being utilitarian objects is that they incorporate text. So these are fragments of narratives that then, as objects, become embodied — you’re living with and somehow participating in these narratives. Would you say that that is accurate or does that inform the people that you work with?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Initially, we thought about what happens when an object receives text. How does that change the object? And that’s all in the interpretation of the person receiving it. I think that’s such a personal thing, and the other thing too is that it’s a way for people to interact with these pieces outside of a gallery — in their homes. So a piece by Allora & Calzadilla would come to your house, and it’s just you and the object. What do you want to do with it? How do you feel about it? For us, it was really important to create that experience or that possibility. Plus, to have the US Postal Service be the intermediary — we like the US Postal Service, even though sometimes issues get lost. But that experience is really what we envisioned, not so much what happened after — that moment when it came to them in the door, and they opened the box, and it’s like, \u003cem>THE THING\u003c/em>‘s here! That’s the moment that we really got excited about.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> There’s an interesting switch that happens in the unwrapping of the box. It arrives and it says “THE THING”, the issue number, and the name of the artist on it. Then you open it up and you see what the object is. So you know in advance who the artist is going to be, but you don’t know what you’re going to receive. So all of a sudden the object takes precedence.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> There’s an incredible amount of expectation in that, too. And that’s the problem we had in the very beginning. You create this expectation, and it can go through the roof. Really, it can only cost so much to make. It has to be very affordable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/Thing_cover.jpg\">\u003cbr>\n\u003cem>THE THING Quarterly, \u003c/em>winter 2010/11; vinyl record; issue 13 by Matthew Higgs & Martin Creed; 12″. Courtesy of \u003cem>THE THING Quarterly\u003c/em>. Photo: Lenny Gonzalez.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> So there’s no text or anything that comes with it, there is only the object.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> This is another editorial stand that we took early on. There is text that does accompany the object, but in some cases the text is very terse. We decided early on that we weren’t going to instruct the viewer on the artist or on how to experience this piece unless the artist wanted that. But there are issues that do have more texts than others. Starlee Kine’s, for instance, has an amazing essay that fully instructs you on how to use the cutting board. Whereas Allora & Calzadilla’s issue has no text.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Which is beautiful. There’s a moment of negotiation. So what’s next for you?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Well, I was just in Copenhagen in a residency for two months. I was in an exhibition there and shot a \u003ca href=\"http://vimeo.com/21320925\">video piece\u003c/a> as part of the residency. Tucker Nichols and I came over together for the show, and the piece I created for them was a promotional video that would play in the lobby of the space when you walk in, and it would look like it was made for the institution, but they had actually gone out and contracted someone to make this. The video falls apart in the process. The translator has taken the narrator’s cat away to the country. They get in fights all the time apparently. She leaves him and he takes her cat away. And so this all comes out in the video and it collapses.\u003c/p>\n\u003cp>I have a show at Steven Wolf this fall — in his new space. More immediately up next is the launch for James Franco’s issue. He’s coming to San Francisco to work with us for two days. He will be actually hand writing on each issue. We’re also producing a limited edition with him that we’ll release in May, which we’re very excited about.\u003c/p>\n\u003cp>Listen to the full interview at Bad at Sports: \u003ca href=\"http://badatsports.com/2011/episode-290/\" target=\"_blank\" rel=\"noopener\">Episode 290\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://jonnherschend.com/\">\u003cstrong>Jonn Herschend\u003c/strong>\u003c/a> is an interdisciplinary artist, filmmaker and experimental publisher. His performances, video work, and installations have included works such as an infomercial about ambiguity and a motorized trolley tour of places where personal crisis became public. His work has been exhibited nationally and internationally including the Stuttgarter Filmwinter Film festival, Germany; Koh-i-noor, Denmark; LKV Gallery, Norway; the Cleveland Museum of Contemporary Art; the Pacific Film Archive, Berkeley; and Southern Exposure and Yerba Buena Center for the Arts in San Francisco. He is the co-founder and co-editor, along with Will Rogan, of the experimental publication THE THING Quarterly, and is a recent recipient of a Danish Arts Council grant for his work as co-curator, along with Heidi Hove, of the Deadpan Exchange international exhibition series. He has been a visiting lecturer at the University of California, Berkeley, San Francisco State University, California College of the Arts, and Stanford University.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This excerpted interview is part of an ongoing collaboration between \u003ca href=\"http://badatsports.com\">Bad at Sports\u003c/a> and Art Practical. The conversation with Herschend took place on March 15, 2011, as Jonn and his co-founder at \u003c/em> \u003ca href=\"http://www.thethingquarterly.com/\">THE THING Quarterly\u003c/a>, Will Rogan, were about to move into a temporary storefront office at the Kadist Foundation on Folsom Street in San Francisco.\u003c/p>\n\u003cp>________\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews: \u003c/strong>Your current body of work crosses the line between installation, performance, video, lectures, PowerPoints: a wide range of material that involves this larger thread that somehow seems to be either pulling the wool over the audience’s eyes or exposing the wool that had been pulled over their eyes. The first thing in your bio is that you were raised in an amusement park. Is that true?\u003c/p>\n\u003cp>\u003cstrong>Jonn Herschend:\u003c/strong> It’s true. My grandfather started an amusement park in the Ozarks on the Arkansas-Missouri border in the 1960s, called Silver Dollar City. My dad was involved in that as his son, and my mom worked there. It was an 1880s theme park, so there were people dressed up in costume.\u003c/p>\n\u003cp>So here’s the story: My grandfather was a vacuum cleaner salesman in Chicago when vacuum cleaners were all the rage. He cashed it in, and they bought a cave in the Ozarks. They decided that they would try to figure out a way to entertain people while they waited to go on a cave tour. I think the Ozarks at this point in time, even though it was the 1960s, were pretty exotic for a lot of people. There weren’t a lot of roads there; it was beautiful — there were great, beautiful rivers, and people would come down there from Chicago, because they thought it was a really amazing place to go. I guess it would be like going to Costa Rica today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They built this amusement park up over the top of the cave. They bought a steam train, they started building shops, and they had 1880s performers there. Then I came along. They would dress me up in costume when I was a little older and leave me in the steam train depot with the old timers. So I ran around this park as a kid, and I thought it was really cool, and as I went through elementary school I thought it was strange, but we were just part of the community.\u003c/p>\n\u003cp>Then, when I went to college and studied theatre, I was really embarrassed about it all because my friends were going off and studying — or going to do Summer stock, and to these amazing theatre companies up and down the East Coast. I went to Boston University and to this really tiny theatre department, and I would go back in the summers and be a train robber. So I did grow up with this backdrop of make-believe and entertainment, and people coming in and suspending belief. Now it’s more interesting to me than it was in college.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/EOTI-still-4.jpg\">\u003cbr>\n\u003cem>Embrace of the Irrational\u003c/em>, 2009 (video still); HD video; Photo: Lenny Gonzalez.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> I think you can make a direct thread between that and a lot of your work — in the way that you play with simulacra and reveal where the fictive experience falls away.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> I think that is definitely informing the work that I’m doing now. Because there is a willingness to suspend belief when you walk into a situation like that. Also, everyone who is experiencing those particular situations has something going on; I mean, going to an amusement park with kids is usually awful because they eat sugar and go crazy. Families are trying to keep it together, but someone’s crying and yelling. It’s just an intense experience.\u003c/p>\n\u003cp>There’s this background of angst that comes into it, this desire to be entertained, and then on the other side there are people who work in these situations, pretending to be characters. So there’s this fantasy — an exchange that both parties have in the situation — and I find that incredible.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>As well as the fantasy of the undue expectations that are placed around the experience.\u003c/p>\n\u003cp>\u003cstrong>JH: \u003c/strong>Totally. It’s like going to a museum today. What are the expectations at a museum? There’s no difference. I think culturally it’s different — we put it on a different plateau, but we’re paying money to go and have this experience. And it may not be a hillbilly who is going to have a street shooting with someone else from the Hatfield and McCoy side, but it’s definitely something that’s supposed to change us in some way. What is the role of art and what is the role of entertainment, and how do those — as the economy collapsed, and more and more institutions are looking for funding from the individual, as well — how do those things coalesce? What’s the difference between spending money and going to a museum or spending money and going to a baseball game?\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I think it’s interesting to relate this part of your history to your most recent self-portraiture piece — the self-portrait as a PowerPoint proposal for an amusement park. Could you talk us through that work?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> That piece was made for the Mattress Factory in 2009, but it’s actually going to be in the San Francisco International Film Festival this year. They asked me to do a portrait, and I just could not think of a portrait to do. I hadn’t done anything that was necessarily autobiographical; usually what I end up doing is fiction. I was thinking about the dichotomy of the experience; you suspend your belief and you come into the institution — in this case, the Mattress Factory — and what are your expectations?\u003c/p>\n\u003cp>There’s a leak in that piece, in the ceiling, that we created by drilling a hole. So even within the piece itself, you constantly have to ask yourself: is this real or is this part of the piece? In the front room, there is a PowerPoint proposal that is completely fictitious, about a guy proposing a rollercoaster, but it becomes a sordid tale about he and his coworker, who have an affair and get in a car wreck because they’re drunk.\u003c/p>\n\u003cp>The second part of the piece is a janitor’s closet that we built. It has a door that’s slightly open, that never closes fully and never opens fully. Viewers have to decide if it’s part of the piece or not, so they go behind the scenes. There is an 8mm projector in the cupboard that projects the true moment of my daughter going on one of those fairground swing-chair rides. She’s having so much fun; it’s just pure innocence and joy — that’s the real experience. I wanted to separate those two experiences, and have them operate in that space. I don’t think it was necessarily super successful, but it was a step for me. It was the first step for me to really think about my background.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> Oftentimes in your work there is a series of decisions that have to be made: how much am I going to embrace this? How much am I going to go along with the logic or the disintegration of the narrative that’s happening, and how much am I going to stay faithful to this before I veer off from it, or I discard it? That’s a process that I’m curious about. In one of the recent additions to \u003cem>THE THING\u003c/em> — the piece by Starlee Kine — is a very similar experience. Kine’s \u003cem>Cutting Board\u003c/em> contains a narrative about crying. The idea is that you’re supposed to use this board to chop onions and, actually, as you’re reading the story, which fades away the more you cut on it, it still provokes this very real emotion — or rather, interaction. I’m interested in the way you play with a viewer’s expectations and willingness to embed themselves with the narratives that you’re producing.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Yeah, that issue by Starlee Kine is awesome. That’s one of our favorite issues because she took the task fully to heart and really created something that \u003cem>is\u003c/em> the object but goes\u003cem> beyond\u003c/em> the object. I taught English literature at the high school level for six years, and when I was going to college to learn how to teach, reader response theory was all the rage. It was all about how to incorporate the reader. So I thought, what \u003cem>is\u003c/em> the reader’s response? What is the responsibility of the viewer, and what does that mean in art? How can I really actively engage the viewer? So part of it became, not a trick, but a way to create a scenario where the viewer had to become engaged in some way — whether they wanted to or not — to create a piece where there was a rift in the structure, and the viewer had to step up and fill that rift, and decide: is this serious or is this not serious? It’s out of great respect for the viewer that I think of these pieces when I put them together — not to mess with them or fool them, but to engage them. I think one of the best ways to do that is if you’re doing a live performance, and there’s something that seems to go wrong, really wrong.\u003c/p>\n\u003cp>I’ve seen this a couple of times in business presentations, where someone will freeze for a long time, and you just wonder, are they having a stroke? What’s going on? Then they get back into it. That’s a real moment. I think if I can take that moment and respectfully continue the piece with that drama incorporated, then there’s potential for a cathartic experience. That’s a goal of mine — to create a theatrical moment without the guise of theatre.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I think that’s the root of most successful performance art: the breakdown of that sort of audience-viewer relationship and the ambiguity that comes out of it. Reading through a lot of your earlier bodies of work, seeing them only described as text and photo, I feel awkward. How awkward would I be if some guy is giving a PowerPoint presentation and he starts breaking down? I think a lot of more recent performance work seems to avoid that issue.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> It’s true. The other side of this that I think about, and wrestle with a lot, is entertainment and how important it is. What role does entertainment actually play? I do feel that, as artists, we gave a lot up to the powers that entertain. And I think it’s important that we take some of that back. That doesn’t mean that we make things that don’t have any depth or meaning, but I think that’s something that’s being reexamined more and more now.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/presentation.jpg\">\u003cbr>\n\u003cem>Self Portrait as a PowerPoint Proposal for an Amusement Park Ride,\u003c/em> 2009; installation view, \u003cem>Likeness\u003c/em>, 2009. Courtesy of the Artist and the Mattress Factory, Pittsburgh. Photo: Tom Little.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I’m really interested in that myself — the idea of giving it up to television, Hollywood, the blogosphere.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> For a long time I think the intellectual side is what we got. We got to keep that, and anything that smacked of narrative or smacked of entertainment — well, there was already a place for that and that’s where people went for it. I think contemporary art became too austere.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> I completely agree with that statement. I think one difficulty operating as a contemporary artist is that quite often if you reach towards humor, or if you reach towards entertainment, you pick up this patina that may be too pop or too commercialized, which is a ridiculous notion, but it marginalizes you away from potentially more active parts of the discourse. So, for people who aren’t familiar, what is \u003cem>THE THING\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> \u003cem>THE THING\u003c/em> is a project that Will Rogan and I started with a residency at Southern Exposure in 2007. It’s a periodical in the form of an object. We publish on objects. We work with different writers, artists, and filmmakers to produce an issue each quarter. We treat it like a magazine. It’s not a limited edition; we don’t think about it like that. It’s problematic because it is by default, and it’s also problematic because people have to deal with these objects and may not necessarily want them once they get them, because they’re secret. That’s been the idea behind it — it’s a secret before they come out.\u003c/p>\n\u003cp>Our ideal is that everyone uses the objects. But we also understand that some people won’t. The further we’ve gone along with it the more we’ve crept into the design scene. It’s really fun to work with designers. They consider the function of it much more than we do. We always consider the form.\u003c/p>\n\u003cp>\u003cstrong>Tess Thackara:\u003c/strong> Wasn’t there one issue that was a single shoe? It was like laughing in the face of the utility, because what can you do with one shoe?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> That was Allora & Calzadilla whose work is much like that — laughing in the face of utility. It was a shoe bound to a book. And it was called \u003cem>Problems and Promises\u003c/em>. The idea was that it’s this ridiculous conundrum where you have a shoe bound to a book that’s through the lace. That’s insane, and what do you do with it? Do you put it on your bookshelf? Do you put it in the closet? And the second part is that, for Will and I, the two represent two ways to gather knowledge. Are you going to put the shoe on, if you’re a size seven, and walk around with a book dragging behind you? Or will you use the book and leave the shoe there?\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> \u003cem>THE THING\u003c/em> Issue One was a window shade by Miranda July and there are two versions of the text. I received the one that says, “If this shade is down, I am not who you think I am.” Mine is hung adjacent to the window, so it’s always down. One of our neighbors came in once and read that, and turned to me and said, “Is that shade ever up?” — which I thought was just the best response to that piece. It implied that just seeing the piece calls into question what your relationship is to the person who is actually viewing it.\u003c/p>\n\u003cp>\u003cstrong>JH: \u003c/strong>Miranda had this really amazing vision of people all over putting the shades down in their apartments or houses in cities and the message being sent out to the world: “If this shade is down I’m begging your forgiveness on bended knee with tears streaming down my face.” That was the other one.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> As you mentioned earlier, one of the major requirements for all of these pieces besides being utilitarian objects is that they incorporate text. So these are fragments of narratives that then, as objects, become embodied — you’re living with and somehow participating in these narratives. Would you say that that is accurate or does that inform the people that you work with?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Initially, we thought about what happens when an object receives text. How does that change the object? And that’s all in the interpretation of the person receiving it. I think that’s such a personal thing, and the other thing too is that it’s a way for people to interact with these pieces outside of a gallery — in their homes. So a piece by Allora & Calzadilla would come to your house, and it’s just you and the object. What do you want to do with it? How do you feel about it? For us, it was really important to create that experience or that possibility. Plus, to have the US Postal Service be the intermediary — we like the US Postal Service, even though sometimes issues get lost. But that experience is really what we envisioned, not so much what happened after — that moment when it came to them in the door, and they opened the box, and it’s like, \u003cem>THE THING\u003c/em>‘s here! That’s the moment that we really got excited about.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> There’s an interesting switch that happens in the unwrapping of the box. It arrives and it says “THE THING”, the issue number, and the name of the artist on it. Then you open it up and you see what the object is. So you know in advance who the artist is going to be, but you don’t know what you’re going to receive. So all of a sudden the object takes precedence.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> There’s an incredible amount of expectation in that, too. And that’s the problem we had in the very beginning. You create this expectation, and it can go through the roof. Really, it can only cost so much to make. It has to be very affordable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.artpractical.com/images/uploads/Thing_cover.jpg\">\u003cbr>\n\u003cem>THE THING Quarterly, \u003c/em>winter 2010/11; vinyl record; issue 13 by Matthew Higgs & Martin Creed; 12″. Courtesy of \u003cem>THE THING Quarterly\u003c/em>. Photo: Lenny Gonzalez.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> So there’s no text or anything that comes with it, there is only the object.\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> This is another editorial stand that we took early on. There is text that does accompany the object, but in some cases the text is very terse. We decided early on that we weren’t going to instruct the viewer on the artist or on how to experience this piece unless the artist wanted that. But there are issues that do have more texts than others. Starlee Kine’s, for instance, has an amazing essay that fully instructs you on how to use the cutting board. Whereas Allora & Calzadilla’s issue has no text.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Which is beautiful. There’s a moment of negotiation. So what’s next for you?\u003c/p>\n\u003cp>\u003cstrong>JH:\u003c/strong> Well, I was just in Copenhagen in a residency for two months. I was in an exhibition there and shot a \u003ca href=\"http://vimeo.com/21320925\">video piece\u003c/a> as part of the residency. Tucker Nichols and I came over together for the show, and the piece I created for them was a promotional video that would play in the lobby of the space when you walk in, and it would look like it was made for the institution, but they had actually gone out and contracted someone to make this. The video falls apart in the process. The translator has taken the narrator’s cat away to the country. They get in fights all the time apparently. She leaves him and he takes her cat away. And so this all comes out in the video and it collapses.\u003c/p>\n\u003cp>I have a show at Steven Wolf this fall — in his new space. More immediately up next is the launch for James Franco’s issue. He’s coming to San Francisco to work with us for two days. He will be actually hand writing on each issue. We’re also producing a limited edition with him that we’ll release in May, which we’re very excited about.\u003c/p>\n\u003cp>Listen to the full interview at Bad at Sports: \u003ca href=\"http://badatsports.com/2011/episode-290/\" target=\"_blank\" rel=\"noopener\">Episode 290\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://jonnherschend.com/\">\u003cstrong>Jonn Herschend\u003c/strong>\u003c/a> is an interdisciplinary artist, filmmaker and experimental publisher. His performances, video work, and installations have included works such as an infomercial about ambiguity and a motorized trolley tour of places where personal crisis became public. His work has been exhibited nationally and internationally including the Stuttgarter Filmwinter Film festival, Germany; Koh-i-noor, Denmark; LKV Gallery, Norway; the Cleveland Museum of Contemporary Art; the Pacific Film Archive, Berkeley; and Southern Exposure and Yerba Buena Center for the Arts in San Francisco. He is the co-founder and co-editor, along with Will Rogan, of the experimental publication THE THING Quarterly, and is a recent recipient of a Danish Arts Council grant for his work as co-curator, along with Heidi Hove, of the Deadpan Exchange international exhibition series. He has been a visiting lecturer at the University of California, Berkeley, San Francisco State University, California College of the Arts, and Stanford University.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve all heard the horror stories: Wet-behind-the-ears interns who are in way over their heads, or — potentially worse — are overqualified and reduced to fetching coffee. While there is truth to these legends, most intern and volunteer experiences in the arts, while demanding, can be tremendously rewarding. It’s time to thank this earnest army. Interns and volunteers form a substantial part of the workforce in the arts, both in the Bay Area and across the country. Because relatively few arts organizations (both nonprofits and commercial spaces) have large budgets, this contingent is more than helpful – they’re essential part of the art community.\u003c/p>\n\u003cp>So, who are they? This photo essay turns the lens on the young folks working behind the scenes and under the radar in San Francisco arts spaces. They are working the front desk, staffing galleries, handling phones, responding to viewer questions, arranging libraries, curating and installing shows, and much more. \u003c/p>\n\u003cp>In addition to gaining practical experience, interns and volunteers get a foot in the door in a competitive art-world job market (which is not to say that anyone in their right mind pursues a career in art for the money; they do it for love). It is not unusual for an art student to accrue half a dozen internships on his or her resume by graduation. The interns and volunteers pictured here work at various galleries and art spaces across the city: Pier 24, Triple Base Gallery, Southern Exposure, Adobe Books Back Room Gallery, and Silverman Gallery. Together they form a picture of the up-and-comers in the arts, putting in their time, and learning from the best. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/emily-heller.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Emily Heller manages the front desk at Pier 24.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/halmos.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stephanie Halmos watches the Walker Evans galleries at Pier 24.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cordova.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sofia Cordova unloads books at Pier 24 Library.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brandon Holmes helps paint and patch the gallery walls at Triple Base.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Holmes installs and Alexander Kori Girard painting at Triple Base.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jesse Brown enters artist submissions at Southern Exposure.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brown looks over artist materials at Southern Exposure.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Parker Tilghman oversees Deva Graf’s piece, “Good Morning,”: at the Silverman Gallery.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tilghman in the Silverman Gallery office.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Volunteer Adobe Books Backroom Gallery Volunteer Director and Curator Katie Hood Morgan speaks with a gallery-goer.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Morgan maintains the exhibition at the Adobe Books Backroom Gallery’s exhibition, “stackedmultiplied.”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>All photos: Carmen Winant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all heard the horror stories: Wet-behind-the-ears interns who are in way over their heads, or — potentially worse — are overqualified and reduced to fetching coffee. While there is truth to these legends, most intern and volunteer experiences in the arts, while demanding, can be tremendously rewarding. It’s time to thank this earnest army. Interns and volunteers form a substantial part of the workforce in the arts, both in the Bay Area and across the country. Because relatively few arts organizations (both nonprofits and commercial spaces) have large budgets, this contingent is more than helpful – they’re essential part of the art community.\u003c/p>\n\u003cp>So, who are they? This photo essay turns the lens on the young folks working behind the scenes and under the radar in San Francisco arts spaces. They are working the front desk, staffing galleries, handling phones, responding to viewer questions, arranging libraries, curating and installing shows, and much more. \u003c/p>\n\u003cp>In addition to gaining practical experience, interns and volunteers get a foot in the door in a competitive art-world job market (which is not to say that anyone in their right mind pursues a career in art for the money; they do it for love). It is not unusual for an art student to accrue half a dozen internships on his or her resume by graduation. The interns and volunteers pictured here work at various galleries and art spaces across the city: Pier 24, Triple Base Gallery, Southern Exposure, Adobe Books Back Room Gallery, and Silverman Gallery. Together they form a picture of the up-and-comers in the arts, putting in their time, and learning from the best. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/emily-heller.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Emily Heller manages the front desk at Pier 24.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/halmos.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stephanie Halmos watches the Walker Evans galleries at Pier 24.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cordova.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sofia Cordova unloads books at Pier 24 Library.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brandon Holmes helps paint and patch the gallery walls at Triple Base.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Holmes installs and Alexander Kori Girard painting at Triple Base.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jesse Brown enters artist submissions at Southern Exposure.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brown looks over artist materials at Southern Exposure.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Parker Tilghman oversees Deva Graf’s piece, “Good Morning,”: at the Silverman Gallery.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tilghman in the Silverman Gallery office.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Volunteer Adobe Books Backroom Gallery Volunteer Director and Curator Katie Hood Morgan speaks with a gallery-goer.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Morgan maintains the exhibition at the Adobe Books Backroom Gallery’s exhibition, “stackedmultiplied.”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>All photos: Carmen Winant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’ve all heard the horror stories: Wet-behind-the-ears interns who are in way over their heads, or — potentially worse — are overqualified and reduced to fetching coffee. While there is truth to these legends, most intern and volunteer experiences in the arts, while demanding, can be tremendously rewarding. It’s time to thank this earnest army. Interns and volunteers form a substantial part of the workforce in the arts, both in the Bay Area and across the country. Because relatively few arts organizations (both nonprofits and commercial spaces) have large budgets, this contingent is more than helpful – they’re essential part of the art community.\u003c/p>\n\u003cp>So, who are they? This photo essay turns the lens on the young folks working behind the scenes and under the radar in San Francisco arts spaces. They are working the front desk, staffing galleries, handling phones, responding to viewer questions, arranging libraries, curating and installing shows, and much more. \u003c/p>\n\u003cp>In addition to gaining practical experience, interns and volunteers get a foot in the door in a competitive art-world job market (which is not to say that anyone in their right mind pursues a career in art for the money; they do it for love). It is not unusual for an art student to accrue half a dozen internships on his or her resume by graduation. The interns and volunteers pictured here work at various galleries and art spaces across the city: Pier 24, Triple Base Gallery, Southern Exposure, Adobe Books Back Room Gallery, and Silverman Gallery. Together they form a picture of the up-and-comers in the arts, putting in their time, and learning from the best. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/emily-heller.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Emily Heller manages the front desk at Pier 24.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/halmos.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stephanie Halmos watches the Walker Evans galleries at Pier 24.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cordova.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Sofia Cordova unloads books at Pier 24 Library.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Brandon Holmes helps paint and patch the gallery walls at Triple Base.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Holmes installs and Alexander Kori Girard painting at Triple Base.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Jesse Brown enters artist submissions at Southern Exposure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Brown looks over artist materials at Southern Exposure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Parker Tilghman oversees Deva Graf’s piece, “Good Morning,”: at the Silverman Gallery.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Tilghman in the Silverman Gallery office.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Volunteer Adobe Books Backroom Gallery Volunteer Director and Curator Katie Hood Morgan speaks with a gallery-goer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Morgan maintains the exhibition at the Adobe Books Backroom Gallery’s exhibition, “stackedmultiplied.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos: Carmen Winant.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all heard the horror stories: Wet-behind-the-ears interns who are in way over their heads, or — potentially worse — are overqualified and reduced to fetching coffee. While there is truth to these legends, most intern and volunteer experiences in the arts, while demanding, can be tremendously rewarding. It’s time to thank this earnest army. Interns and volunteers form a substantial part of the workforce in the arts, both in the Bay Area and across the country. Because relatively few arts organizations (both nonprofits and commercial spaces) have large budgets, this contingent is more than helpful – they’re essential part of the art community.\u003c/p>\n\u003cp>So, who are they? This photo essay turns the lens on the young folks working behind the scenes and under the radar in San Francisco arts spaces. They are working the front desk, staffing galleries, handling phones, responding to viewer questions, arranging libraries, curating and installing shows, and much more. \u003c/p>\n\u003cp>In addition to gaining practical experience, interns and volunteers get a foot in the door in a competitive art-world job market (which is not to say that anyone in their right mind pursues a career in art for the money; they do it for love). It is not unusual for an art student to accrue half a dozen internships on his or her resume by graduation. The interns and volunteers pictured here work at various galleries and art spaces across the city: Pier 24, Triple Base Gallery, Southern Exposure, Adobe Books Back Room Gallery, and Silverman Gallery. Together they form a picture of the up-and-comers in the arts, putting in their time, and learning from the best. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/emily-heller.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Emily Heller manages the front desk at Pier 24.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/halmos.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stephanie Halmos watches the Walker Evans galleries at Pier 24.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cordova.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Sofia Cordova unloads books at Pier 24 Library.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Brandon Holmes helps paint and patch the gallery walls at Triple Base.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holmes-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Holmes installs and Alexander Kori Girard painting at Triple Base.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Jesse Brown enters artist submissions at Southern Exposure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brown-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Brown looks over artist materials at Southern Exposure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Parker Tilghman oversees Deva Graf’s piece, “Good Morning,”: at the Silverman Gallery.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tilghman-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Tilghman in the Silverman Gallery office.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Volunteer Adobe Books Backroom Gallery Volunteer Director and Curator Katie Hood Morgan speaks with a gallery-goer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hood-morgan-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Morgan maintains the exhibition at the Adobe Books Backroom Gallery’s exhibition, “stackedmultiplied.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos: Carmen Winant.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "STUDIO INVASION: Taro Hattori",
"headTitle": "STUDIO INVASION: Taro Hattori | KQED",
"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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"excerpt": "We recently stopped by Taro 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.",
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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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"headTitle": "STUDIO INVASION: Gina Contreras | KQED",
"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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"excerpt": "Gina Contreras paints gardens of beautiful flowers where old folks stroll hand-in-hand, become friends with benefits, and fall in love. We snuck into her studio just in time for Valentine's Day to find out more about this lovely artist.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"excerpt": "Artist Christine Wong Yap contemplates her recent move to New York and elaborates those features that make the Bay Area function as a free space for experimentation and a secure place for risk-taking.",
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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>In January 2011, \u003ci>Gallery Crawl\u003c/i> interviewed Gallery Hijinks owner, Jillian Mackintosh, along with artists Martin Machado and Aleksandra Zee about their current exhibition, \u003cem>AS IT WAS BEFORE\u003c/em>.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/edguide-hijinks.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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. 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>[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. 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>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Art Basel Miami Beach 2010 took place on December 2-5 2010, in Miami Beach, Florida.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"excerpt": "Inspired by faces in fashion magazines, Serena Cole re-imagines their beauty with watercolor, exposing a hidden darkness. 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.",
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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. 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"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"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"
}
},
"pbs-newshour": {
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