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"content": "\u003cp>We weren’t the first to invade Richard Colman’s studio, nor will we be the last. He grew up in Maryland and went on to live in both New York and Los Angeles before settling in San Francisco. His paintings, installations, and sculptural works, which have been exhibited internationally, are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coleman-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your new show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Colman:\u003c/b> “It is a huge space, so I wanted to take advantage of that. The installation builds off work I’ve done in the past with these very involved stage areas. I like set design and fantastical worlds, so I’m playing off of that. Some of the new work is silver, black, and white — my work tends to be really colorful, geometric, and super detailed, so this was something new to change directions, and limit myself to working with a few colors. I’m also bringing in elements like trees that are taken from work I was doing about five years ago — primarily ink and wash drawings with very simple palettes. I thought it would be fun to take that and infuse it with the color palette I’ve been developing over the years.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-16.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>What traditional art forms influence your style?\u003c/i>\u003c/p>\n\u003cp>“I was always drawn to Byzantine art. I like the stiffness of it and how it’s very flat, but at the same time it expresses a lot. I always liked how there is a secret language to old religious paintings, whether it’s the direction of the way someone is looking, or the way their hand is pointed — little things that you can get drawn into and lost in. Also Russian miniature painting, Islamic painting, and anything that involves patterning. That’s a pretty major early influence, and it’s ingrained in what I do at this point.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-5.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you intend to make your imagery look timeless or not of the current era?\u003c/i>\u003c/p>\n\u003cp>“I like to keep things more ambiguous, and I think that makes it easier for people to relate to it. I like the idea that when you make something and put it out in the world, at that point you’ve given it over. I have my relationship to the work when I’m making it and thinking about it, but once it’s hung and it’s out there, it ceases to be mine. It’s for everybody else. I like to keep things open for people. I intentionally keep things very simple, like the characters. I don’t feel the need to render them out too much. I tend to work from the inside out, and I think that people can pick up on that sort of thing, and maybe universal feelings or topics come up. Hopefully.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-21.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there a dark side to your work?\u003c/i>\u003c/p>\n\u003cp>“Before, there was. Everybody’s got that angsty crap they hold within them, and at first you want to make paintings about it. Now, instead of illustrating or showing an uneasy situation, I’ll try to combine colors and forms and shapes that invoke that feeling. Or sometimes it’s about finding colors that create a harmony or calmness.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-10.jpg\">\u003c/p>\n\u003cp>\u003ci>We noticed a tribute to Alexander McQueen on your blog. What other creative fields inspire you?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in all creative things. I just like it when people make things. Especially something like his work, it’s perfect. There are few things you can say that about. The backwards shoes? I was blown away when I saw those. But fashion is not something that I’m fully immersed in. I like having a distance from things where I don’t fully understand them, so they can still remain magical and exotic.”\u003c/p>\n\u003cp>“I collect a lot of contemporary art, but there’s equally as much art in my collection that I’ve found at flea markets or garage sales. The things I find there are just as good as anything else that I have because somebody made them.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-25.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-8.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you collect anything else?\u003c/i>\u003c/p>\n\u003cp>“Tons of stuff. I’m like a hoarder but a bit more organized. I collect toys. We have a lot of taxidermy and artwork, books, music, and my girlfriend collects sand from different places. If I go somewhere and she’s not with me, I’ll grab a little bag of sand for her.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your paintings had a soundtrack, what would it sound like?\u003c/i>\u003c/p>\n\u003cp>“White noise.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-15.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard Colman’s new show, \u003cb>Something Better\u003c/b>, opens at Guerrero Gallery October 16, 2010.\u003c/p>\n\n",
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"excerpt": "Richard Colman's paintings, installations, and sculptural works are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We weren’t the first to invade Richard Colman’s studio, nor will we be the last. He grew up in Maryland and went on to live in both New York and Los Angeles before settling in San Francisco. His paintings, installations, and sculptural works, which have been exhibited internationally, are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coleman-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your new show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Colman:\u003c/b> “It is a huge space, so I wanted to take advantage of that. The installation builds off work I’ve done in the past with these very involved stage areas. I like set design and fantastical worlds, so I’m playing off of that. Some of the new work is silver, black, and white — my work tends to be really colorful, geometric, and super detailed, so this was something new to change directions, and limit myself to working with a few colors. I’m also bringing in elements like trees that are taken from work I was doing about five years ago — primarily ink and wash drawings with very simple palettes. I thought it would be fun to take that and infuse it with the color palette I’ve been developing over the years.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-16.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>What traditional art forms influence your style?\u003c/i>\u003c/p>\n\u003cp>“I was always drawn to Byzantine art. I like the stiffness of it and how it’s very flat, but at the same time it expresses a lot. I always liked how there is a secret language to old religious paintings, whether it’s the direction of the way someone is looking, or the way their hand is pointed — little things that you can get drawn into and lost in. Also Russian miniature painting, Islamic painting, and anything that involves patterning. That’s a pretty major early influence, and it’s ingrained in what I do at this point.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-5.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you intend to make your imagery look timeless or not of the current era?\u003c/i>\u003c/p>\n\u003cp>“I like to keep things more ambiguous, and I think that makes it easier for people to relate to it. I like the idea that when you make something and put it out in the world, at that point you’ve given it over. I have my relationship to the work when I’m making it and thinking about it, but once it’s hung and it’s out there, it ceases to be mine. It’s for everybody else. I like to keep things open for people. I intentionally keep things very simple, like the characters. I don’t feel the need to render them out too much. I tend to work from the inside out, and I think that people can pick up on that sort of thing, and maybe universal feelings or topics come up. Hopefully.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-21.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there a dark side to your work?\u003c/i>\u003c/p>\n\u003cp>“Before, there was. Everybody’s got that angsty crap they hold within them, and at first you want to make paintings about it. Now, instead of illustrating or showing an uneasy situation, I’ll try to combine colors and forms and shapes that invoke that feeling. Or sometimes it’s about finding colors that create a harmony or calmness.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-10.jpg\">\u003c/p>\n\u003cp>\u003ci>We noticed a tribute to Alexander McQueen on your blog. What other creative fields inspire you?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in all creative things. I just like it when people make things. Especially something like his work, it’s perfect. There are few things you can say that about. The backwards shoes? I was blown away when I saw those. But fashion is not something that I’m fully immersed in. I like having a distance from things where I don’t fully understand them, so they can still remain magical and exotic.”\u003c/p>\n\u003cp>“I collect a lot of contemporary art, but there’s equally as much art in my collection that I’ve found at flea markets or garage sales. The things I find there are just as good as anything else that I have because somebody made them.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-25.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-8.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you collect anything else?\u003c/i>\u003c/p>\n\u003cp>“Tons of stuff. I’m like a hoarder but a bit more organized. I collect toys. We have a lot of taxidermy and artwork, books, music, and my girlfriend collects sand from different places. If I go somewhere and she’s not with me, I’ll grab a little bag of sand for her.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your paintings had a soundtrack, what would it sound like?\u003c/i>\u003c/p>\n\u003cp>“White noise.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-15.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard Colman’s new show, \u003cb>Something Better\u003c/b>, opens at Guerrero Gallery October 16, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Catherine Ryan hails from New Jersey and stayed put in Oakland after moving there to attend CCA. She creates highly textured paintings of real and imagined moments frozen in time, always with a sense of lurking darkness mixed with beautiful imagery. We paid her studio space a visit and gabbed about her love of found photos, Kodachrome, and faceless figures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cstrong>EKG:\u003c/strong> \u003cem>How did you get into using the combination of acrylic paint and charcoal?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Catherine Ryan:\u003c/strong> “It was kind of by accident; I’ve been using it for a long time. When I was in college, I made surrealist oil paintings. And then I started working bigger, and I didn’t like the way that graphite worked on canvas. I liked the way charcoal feathered into the paint and moved around the canvas. You can almost move it around like watercolor. I love the contrast, the graphic elements of acrylic paint, and the soft detail you can get with charcoal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-5.jpg\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-4.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why are you drawn to a ’70s aesthetic?\u003c/em>\u003c/p>\n\u003cp>“Probably from the materials I’ve worked with — a lot of old family photos, mainly mine, mostly from the ’70s. The colors and Kodachrome in the slides were so influential on me. I loved the way the colors looked, like a flat drab green with a really bright red. It’s always a scheme that appeals to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-14.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-15.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Tell us more about the found photos you work with.\u003c/em>\u003c/p>\n\u003cp>“I started moving away from family photos and am now doing more animals and hunters, and things like that. I’ll look through Google image search, Ebay is a great source for photos, and now there are a lot of old photo archives online. I still occasionally go through my own family photos to look for a certain positioning of people that seems interesting.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-17.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-19.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What else do you look for in the photos?\u003c/em>\u003c/p>\n\u003cp>“When I worked with family photos, I was always looking for the image that was very familiar, like the kids sitting in front of the Christmas tree. Something that was very banal because I felt like many people could relate to it, but it was also fraught with tension and memories. Even though everyone’s smiling, maybe there’s something bad going on. I don’t do a lot of facial details, so I chose iconic images that were so loaded, they could mean different things to different people. A lot of my drawings are composites of different photos, but I’m still looking for a tense moment where you’re wondering what’s going to happen next, or what happened right before that.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-2.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-11.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Is there a specific reason why you’re focusing on those types of moments?\u003c/em>\u003c/p>\n\u003cp>“I’m still exploring the themes I’m trying to get at the root of. I like the idea of making something that’s really pretty, like a pretty drawing of a bear and some people, or a really richly colored interior. But the layers of what I’m exploring have dark undertones, sort of like the contrast of the paint and the charcoal — the contrast between these beautiful things. On the surface they seem very simple and normal, but there’s always something dark underlying them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-3.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why do you choose to make your figures faceless?\u003c/em>\u003c/p>\n\u003cp>“I like the ambiguity of it and the anonymity. When I use people in my work, I want them to be unidentifiable. I don’t want you to know the emotion that would be on their faces. I want it to be conveyed through gesture, and I want them to be sort of drones — just representations of people doing things, not actual individual people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-7.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-6.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Any artists you look up to?\u003c/em>\u003c/p>\n\u003cp>“I worked with \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=925\">Bill Owens\u003c/a>, the photographer. I really like that he’s had so much success but he does things his own way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-18.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-22.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What music could best describe your work?\u003c/em>\u003c/p>\n\u003cp>“The first thing that comes to mind is Kraftwerk — something very cold and German because the people in my paintings are faceless and kind of robotic.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catherine Ryan is giving an artist talk at Timken Hall on CCA’s San Francisco campus on October 8th and is in a show, \u003ca href=\"http://alluringsubversions.tumblr.com/\"> Alluring Subversions\u003c/a> at the Oliver Art Center on the Oakland campus opening October 18th. Also catch her in a group show, Highly Contagious at \u003ca href=\"http://www.galleryhijinks.com\">Gallery Hijinks\u003c/a> through October 9th.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Catherine Ryan hails from New Jersey and stayed put in Oakland after moving there to attend CCA. She creates highly textured paintings of real and imagined moments frozen in time, always with a sense of lurking darkness mixed with beautiful imagery. We paid her studio space a visit and gabbed about her love of found photos, Kodachrome, and faceless figures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cstrong>EKG:\u003c/strong> \u003cem>How did you get into using the combination of acrylic paint and charcoal?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Catherine Ryan:\u003c/strong> “It was kind of by accident; I’ve been using it for a long time. When I was in college, I made surrealist oil paintings. And then I started working bigger, and I didn’t like the way that graphite worked on canvas. I liked the way charcoal feathered into the paint and moved around the canvas. You can almost move it around like watercolor. I love the contrast, the graphic elements of acrylic paint, and the soft detail you can get with charcoal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-5.jpg\" alt=\"\">\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/cryan-4.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why are you drawn to a ’70s aesthetic?\u003c/em>\u003c/p>\n\u003cp>“Probably from the materials I’ve worked with — a lot of old family photos, mainly mine, mostly from the ’70s. The colors and Kodachrome in the slides were so influential on me. I loved the way the colors looked, like a flat drab green with a really bright red. It’s always a scheme that appeals to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-14.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-15.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Tell us more about the found photos you work with.\u003c/em>\u003c/p>\n\u003cp>“I started moving away from family photos and am now doing more animals and hunters, and things like that. I’ll look through Google image search, Ebay is a great source for photos, and now there are a lot of old photo archives online. I still occasionally go through my own family photos to look for a certain positioning of people that seems interesting.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-17.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-19.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What else do you look for in the photos?\u003c/em>\u003c/p>\n\u003cp>“When I worked with family photos, I was always looking for the image that was very familiar, like the kids sitting in front of the Christmas tree. Something that was very banal because I felt like many people could relate to it, but it was also fraught with tension and memories. Even though everyone’s smiling, maybe there’s something bad going on. I don’t do a lot of facial details, so I chose iconic images that were so loaded, they could mean different things to different people. A lot of my drawings are composites of different photos, but I’m still looking for a tense moment where you’re wondering what’s going to happen next, or what happened right before that.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-2.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-11.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Is there a specific reason why you’re focusing on those types of moments?\u003c/em>\u003c/p>\n\u003cp>“I’m still exploring the themes I’m trying to get at the root of. I like the idea of making something that’s really pretty, like a pretty drawing of a bear and some people, or a really richly colored interior. But the layers of what I’m exploring have dark undertones, sort of like the contrast of the paint and the charcoal — the contrast between these beautiful things. On the surface they seem very simple and normal, but there’s always something dark underlying them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-3.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why do you choose to make your figures faceless?\u003c/em>\u003c/p>\n\u003cp>“I like the ambiguity of it and the anonymity. When I use people in my work, I want them to be unidentifiable. I don’t want you to know the emotion that would be on their faces. I want it to be conveyed through gesture, and I want them to be sort of drones — just representations of people doing things, not actual individual people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-7.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-6.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Any artists you look up to?\u003c/em>\u003c/p>\n\u003cp>“I worked with \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=925\">Bill Owens\u003c/a>, the photographer. I really like that he’s had so much success but he does things his own way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-18.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-22.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What music could best describe your work?\u003c/em>\u003c/p>\n\u003cp>“The first thing that comes to mind is Kraftwerk — something very cold and German because the people in my paintings are faceless and kind of robotic.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catherine Ryan is giving an artist talk at Timken Hall on CCA’s San Francisco campus on October 8th and is in a show, \u003ca href=\"http://alluringsubversions.tumblr.com/\"> Alluring Subversions\u003c/a> at the Oliver Art Center on the Oakland campus opening October 18th. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In July 2010, \u003ci>Gallery Crawl\u003c/i> interviewed LA-based photographer Shannon Ebner and Bay Area painter Robert Bechtle about their selections for \u003cem>THEY KNEW WHAT THEY WANTED\u003c/em>, an exhibition spread across four San Francisco galleries.\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-wanted.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the hot, hot, hot month of July, I traveled to Spain on an art-viewing excursion. The following is a report of my sightings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museodelprado.es/en/\">\u003cb>Museo Nacional del Prado\u003c/b>\u003c/a>, Madrid\u003cbr> A natural first stop in Madrid, the Prado is Spain’s Louvre and holds an extensive collection of European art, much of it from the Royal Collection. Among the most prized pieces are Velásquez’s \u003cb>Las Meninas\u003c/b>, which has been reinterpreted by many artists, most notably Picasso, as you will read later in this report. Also well known and on my list of art to see up close was \u003cb>The Garden of Earthly Delights\u003c/b>, painted by Hieronymus Bosch in the late 15th/early 16th century. It’s surreal and seemed so ahead of its time. It was also surrounded by swarms of tourists just like when I saw the \u003cb>Mona Lisa\u003c/b> at the Louvre.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museoreinasofia.es/index.html\">\u003cb>Reina Sofia\u003c/b>\u003c/a>, Madrid\u003cbr> Next was the contemporary art museum for a face-to-face meeting with Picasso’s \u003cb>Guernica\u003c/b>, his famous work about a Spanish Civil War bombing. Several more Picasso paintings and sculptures live in the museum, but my favorite discovery was an astonishing exhibition of paintings filled with simple lines, patterns, and animals by Martín Ramírez. I was immediately drawn to them, but couldn’t spend enough time looking at them. It wasn’t until later that I learned Ramírez had schizophrenia and spent most of his life institutionalized near Sacramento.\u003c/p>\n\u003cp>\u003cb>Streets of Spain\u003c/b>\u003cbr> The public art in Spain is impressive and makes me wonder why most of ours is so tame. An unusual, graphic red bridge sits beside the next museum on my itinerary in Bilbao, train stations held massive artworks, and graffiti and street art were clearly welcomed — many legal walls line the city streets. I met up with my friend and KQED’s Art Director, Zaldy Serrano in Madrid; we agreed the graf styles looked very tight and, as he said, “like they didn’t have to hurry up.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-graf.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ca href=\"http://www.guggenheim.org/bilbao\">\u003cb>Guggenheim Museum\u003c/b>\u003c/a>, Bilbao\u003cbr>This museum is a stunner. The Guggenheims know how to get down. Their Bilbao branch has Frank Gehry’s curvy metal architecture, which he compared to a crate of loose bottles, and one of Louise Bourgeois’s largest spider sculptures crawling towards the river outside. Her spiders are about the childhood fears grown-ups are afraid to express — a giant spider rising out of a river was doubly terrifying and awesome.\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/spain-spider.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>My hotel was across the street from the museum and I nearly fainted when I saw Jeff Koon’s \u003cb>Puppy\u003c/b> towering outside the back door. I’d heard of this enormous Terrier made of flowers and knew he’d been exhibited in Bilbao, but had no idea that the locals loved him so dearly, they’d adopted him permanently. Judging from the museum shop’s postcards, I think \u003cb>Puppy\u003c/b> was at his best, most flourishing, colorful state this month. He looked greener in the past. That dog was only the beginning. A two-story Jenny Holzer LCD text installation and \u003cb>The Matter of Time\u003c/b>, the most amazing Richard Serra steel sculpture I’ve ever wound my way through, blew my mind on the first floor, along with classy galleries of important works by Mark Rothko, Robert Motherwell, Andy Warhol, Cy Twombly, Yves Klein, and James Rosenquist, among others. There was a Robert Rauschenburg exhibition of nearly a hundred found metal collage sculptures called \u003cb>Gluts\u003c/b> (the delicate \u003cb>Poached Summer Glut\u003c/b> was lovely), and a solo exhibition of work by Anish Kapoor, another mind bender.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-puppy.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One large gallery in Kapoor’s show had a high ceiling and held a cannon and what looked like an industrial preparation area. The corner of the room was obliterated with a bloody, chunky, red substance, splattered maybe twenty feet high. I couldn’t look at it at first. I didn’t want to. It looked horrific, like someone murdered The B.F.G. in there. But I sucked it up and entered the gallery at just the right time, when the performance took place. A jump-suited man ceremoniously loaded a bucket-sized red wax bullet into the cannon, took a long pause for dramatic effect, and launched it, SPLAT, into the wall with the rest of the goop. It stuck, and then crumbled off like its predecessors, adding to the pile on the floor. Next door, a yellow vortex filled one huge wall and made my eyes cross. Even standing right next to it, I thought it was painted flat with shading but it was, in fact, concave. In the next room, a somewhat similar, white, convex \u003cb>Pregnant\u003c/b> bump protruded from the wall. If you stared at it at a certain angle, it disappeared. Kapoor has an acute knack for messing with one’s perception. He also seems to be living out one or more of Freud’s psychosexual stages. Near the pregnant bump was a graphically carved lady part coated in rich red pigment powder, and in the next room, endless piles of concrete poo on palettes created a maze through the gallery.\u003c/p>\n\u003cp>This is Kapoor’s latest work. He and a friend developed what he describes as a digital printer of 3D objects. It seemed more like a food processor that can handle concrete, since the output resembled the piles of thick spaghetti coils that come out of a Play-Dough Fun Factory. I overheard someone saying it looked like specimens of the end results of eating various foods, and I had to agree. Despite the fact that his work makes me uneasy, Kapoor’s show was clearly a stand out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fundaciomiro-bcn.org/\">\u003cb>Fundació Joan Miró\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr> Joan Miró had a hand in creating this museum before his death in 1983. It houses many of his works, including paintings, sculptures, ceramics, and even huge tapestries. Since I’m typically drawn to the newest contemporary work, most memorable for me at this location was a temporary exhibition of video works by Pippilotti Rist, who is nicknamed after Pippi Longstocking. Entering the darkened galleries, waiting for my eyes to adjust, I stumbled into a room filled with people laying on the floor staring up at amorphous screens playing dream-like videos that are hard to remember in detail. I remember seeing a woman sort of floating and drifting in water, eating flowers — strange visions that appear as a dream. Rist is interested in how we perceive imagery when our muscles are relaxed and collaborated with a musician for the videos’ soundtracks, which added to their mesmerizing effect. She also created carefully-planned pillows and carpeting in specific color palettes for her viewers. I’m a big fan of artists who get people to lay on the floor on a hot summer day.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museupicasso.bcn.es/\">\u003cb>Museu Picasso\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr>Ending with another mandatory stop (according to travel books) the Picasso Museum is in Barcelona’s Barri Gótic, an old town cobblestone neighborhood. Nestled into the skinny streets, the museum begins with Picasso’s illustrative pieces, which I found most interesting, along with lots of his early impressionist work, including portraits of his parents he made at age 16. There were two galleries filled with his many cubist interpretations of Velasquez’s \u003cb>Las Meninas\u003c/b> which were a fitting, rounded-out end to my whirlwind tour of Spain’s art and cultural history.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Oh yeah, and on my last night in town, Spain won a big soccer match or something.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hot, hot, hot month of July, I traveled to Spain on an art-viewing excursion. The following is a report of my sightings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museodelprado.es/en/\">\u003cb>Museo Nacional del Prado\u003c/b>\u003c/a>, Madrid\u003cbr> A natural first stop in Madrid, the Prado is Spain’s Louvre and holds an extensive collection of European art, much of it from the Royal Collection. Among the most prized pieces are Velásquez’s \u003cb>Las Meninas\u003c/b>, which has been reinterpreted by many artists, most notably Picasso, as you will read later in this report. Also well known and on my list of art to see up close was \u003cb>The Garden of Earthly Delights\u003c/b>, painted by Hieronymus Bosch in the late 15th/early 16th century. It’s surreal and seemed so ahead of its time. It was also surrounded by swarms of tourists just like when I saw the \u003cb>Mona Lisa\u003c/b> at the Louvre.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museoreinasofia.es/index.html\">\u003cb>Reina Sofia\u003c/b>\u003c/a>, Madrid\u003cbr> Next was the contemporary art museum for a face-to-face meeting with Picasso’s \u003cb>Guernica\u003c/b>, his famous work about a Spanish Civil War bombing. Several more Picasso paintings and sculptures live in the museum, but my favorite discovery was an astonishing exhibition of paintings filled with simple lines, patterns, and animals by Martín Ramírez. I was immediately drawn to them, but couldn’t spend enough time looking at them. It wasn’t until later that I learned Ramírez had schizophrenia and spent most of his life institutionalized near Sacramento.\u003c/p>\n\u003cp>\u003cb>Streets of Spain\u003c/b>\u003cbr> The public art in Spain is impressive and makes me wonder why most of ours is so tame. An unusual, graphic red bridge sits beside the next museum on my itinerary in Bilbao, train stations held massive artworks, and graffiti and street art were clearly welcomed — many legal walls line the city streets. I met up with my friend and KQED’s Art Director, Zaldy Serrano in Madrid; we agreed the graf styles looked very tight and, as he said, “like they didn’t have to hurry up.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-graf.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ca href=\"http://www.guggenheim.org/bilbao\">\u003cb>Guggenheim Museum\u003c/b>\u003c/a>, Bilbao\u003cbr>This museum is a stunner. The Guggenheims know how to get down. Their Bilbao branch has Frank Gehry’s curvy metal architecture, which he compared to a crate of loose bottles, and one of Louise Bourgeois’s largest spider sculptures crawling towards the river outside. Her spiders are about the childhood fears grown-ups are afraid to express — a giant spider rising out of a river was doubly terrifying and awesome.\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/spain-spider.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>My hotel was across the street from the museum and I nearly fainted when I saw Jeff Koon’s \u003cb>Puppy\u003c/b> towering outside the back door. I’d heard of this enormous Terrier made of flowers and knew he’d been exhibited in Bilbao, but had no idea that the locals loved him so dearly, they’d adopted him permanently. Judging from the museum shop’s postcards, I think \u003cb>Puppy\u003c/b> was at his best, most flourishing, colorful state this month. He looked greener in the past. That dog was only the beginning. A two-story Jenny Holzer LCD text installation and \u003cb>The Matter of Time\u003c/b>, the most amazing Richard Serra steel sculpture I’ve ever wound my way through, blew my mind on the first floor, along with classy galleries of important works by Mark Rothko, Robert Motherwell, Andy Warhol, Cy Twombly, Yves Klein, and James Rosenquist, among others. There was a Robert Rauschenburg exhibition of nearly a hundred found metal collage sculptures called \u003cb>Gluts\u003c/b> (the delicate \u003cb>Poached Summer Glut\u003c/b> was lovely), and a solo exhibition of work by Anish Kapoor, another mind bender.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-puppy.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One large gallery in Kapoor’s show had a high ceiling and held a cannon and what looked like an industrial preparation area. The corner of the room was obliterated with a bloody, chunky, red substance, splattered maybe twenty feet high. I couldn’t look at it at first. I didn’t want to. It looked horrific, like someone murdered The B.F.G. in there. But I sucked it up and entered the gallery at just the right time, when the performance took place. A jump-suited man ceremoniously loaded a bucket-sized red wax bullet into the cannon, took a long pause for dramatic effect, and launched it, SPLAT, into the wall with the rest of the goop. It stuck, and then crumbled off like its predecessors, adding to the pile on the floor. Next door, a yellow vortex filled one huge wall and made my eyes cross. Even standing right next to it, I thought it was painted flat with shading but it was, in fact, concave. In the next room, a somewhat similar, white, convex \u003cb>Pregnant\u003c/b> bump protruded from the wall. If you stared at it at a certain angle, it disappeared. Kapoor has an acute knack for messing with one’s perception. He also seems to be living out one or more of Freud’s psychosexual stages. Near the pregnant bump was a graphically carved lady part coated in rich red pigment powder, and in the next room, endless piles of concrete poo on palettes created a maze through the gallery.\u003c/p>\n\u003cp>This is Kapoor’s latest work. He and a friend developed what he describes as a digital printer of 3D objects. It seemed more like a food processor that can handle concrete, since the output resembled the piles of thick spaghetti coils that come out of a Play-Dough Fun Factory. I overheard someone saying it looked like specimens of the end results of eating various foods, and I had to agree. Despite the fact that his work makes me uneasy, Kapoor’s show was clearly a stand out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fundaciomiro-bcn.org/\">\u003cb>Fundació Joan Miró\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr> Joan Miró had a hand in creating this museum before his death in 1983. It houses many of his works, including paintings, sculptures, ceramics, and even huge tapestries. Since I’m typically drawn to the newest contemporary work, most memorable for me at this location was a temporary exhibition of video works by Pippilotti Rist, who is nicknamed after Pippi Longstocking. Entering the darkened galleries, waiting for my eyes to adjust, I stumbled into a room filled with people laying on the floor staring up at amorphous screens playing dream-like videos that are hard to remember in detail. I remember seeing a woman sort of floating and drifting in water, eating flowers — strange visions that appear as a dream. Rist is interested in how we perceive imagery when our muscles are relaxed and collaborated with a musician for the videos’ soundtracks, which added to their mesmerizing effect. She also created carefully-planned pillows and carpeting in specific color palettes for her viewers. I’m a big fan of artists who get people to lay on the floor on a hot summer day.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museupicasso.bcn.es/\">\u003cb>Museu Picasso\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr>Ending with another mandatory stop (according to travel books) the Picasso Museum is in Barcelona’s Barri Gótic, an old town cobblestone neighborhood. Nestled into the skinny streets, the museum begins with Picasso’s illustrative pieces, which I found most interesting, along with lots of his early impressionist work, including portraits of his parents he made at age 16. There were two galleries filled with his many cubist interpretations of Velasquez’s \u003cb>Las Meninas\u003c/b> which were a fitting, rounded-out end to my whirlwind tour of Spain’s art and cultural history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Calder to Warhol: Introducing the Fisher Collection at SFMOMA",
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"content": "\u003cp>Though catchy, the title \u003cb>Calder to Warhol\u003c/b> erroneously suggests that this diverse exhibition is either chronologically bounded by the careers of Alexander Calder and Andy Warhol (1925-1987) or stylistically encompassed by their respective works; it is neither. However, this first exhibition at SFMOMA of the recently incorporated Fisher Collection delivers a representative overview of the impressive 1,100 artworks that GAP founder Donald Fisher and his wife Doris amassed over their many years collecting together. Obviously, not every artist is included, and sadly many of the more recent and challenging acquisitions are omitted. But, the show does effectively summarize both the Fisher’s eclectic taste and their unwavering commitment to a number of important artists. This overview does not make the most cohesive show, but it does offer a unique window into Doris and Donald Fisher’s personal collecting vision — a vision that, as the collection is incorporated into SFMOMA’s future programming, will almost certainly be replaced by the museum’s own institutional narrative.\u003c/p>\n\u003cp>One thing I particularly like about this exhibition is that it includes works by slightly less well-known artists as well as those thoroughly canonized. In one room a deep red wooden wall sculpture by Robert Therrien unexpectedly complements a mesh, wood, and tar sculpture by Martin Puryear; the colorful dense angularity of the one setting off the dark hollow presence of the other. The show also has not one Jackson Pollack in it, but includes a colossal painting by Lee Krasner. Krasner’s piece possesses so much of the energy and effortless dynamism of Pollack’s best works that it materially challenges the popular conception of their creative relationship. Krasner’s painting hangs across from a wooden Mark di Suervo sculpture that wonderfully echoes and expands on Krasner’s organically angular painted flourishes.\u003c/p>\n\u003cp>Such revelatory surprises exist throughout the show, but the heart of the Fisher’s collection, and the core of this Calder to Warhol introductory exhibition, is the work of the artists that Doris and Donald Fisher collected in depth. Reflecting this commitment, many of these artists have received designated galleries for their work. Obviously, these include Alexander Calder and Andy Warhol; but also, Agnes Martin, George Baselitz, Cy Twombly, Ellsworth Kelly, Anselm Kiefer, Philip Guston, Richard Serra, Frank Stella, and Chuck Close. Since several core parts of the Fisher’s collection overlap SFMOMA’s own holdings, several of these galleries feel like déjà vu. The Phillip Guston gallery, in particular, is remarkably similar to the Guston gallery included in the previous SFMOMA \u003cb>Focus On Artists\u003c/b> show that this exhibition displaced.\u003c/p>\n\u003cp>The uppermost floor of the exhibition opens with an assortment of works by Alexander Calder. The subsequent galleries expand various aspects present in Calder’s bright, touching, and playful pieces. These galleries include Ellsworth Kelly’s colorful paintings, Richard Serra’s precarious sculptures, Gerhard Richter’s masterful variations, Anselm Kiefer’s emotive works, and a smattering of minimalists’ structural propositions. The upper floor is, in one way, a treatise on Calder’s far-reaching influence. In and of itself, it constitutes a most lovely show.\u003c/p>\n\u003cp>While there is a tranquil tone on the exhibition’s upper floor, it is not without unexpected intersections. The most striking juxtaposes German painters Anselm Kiefer and Gerhard Richter. Richter, a stylistic chameleon is nearly impossible to pin down. His various virtuosic bodies of work are arresting and often quite moving, but remain largely cool and analytical, revealing little of Richter himself. Kiefer, on the other hand, can’t help being Kiefer. Both his paintings and his leaden plane sculpture exhibit a consistent visceral materiality and brooding aesthetic. Unlike the more detached works by Richter, Kiefer’s pieces all exude his personally felt cultural heartache about the horrors enacted during the Second World War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition’s lower floor is less unified. Its warren-like galleries are packed with pieces that sometimes enhance each other and sometimes do not. Though diverse, the floor is curiously anchored by the two most heavily represented artists in the exhibition. Surprisingly, these are not Alexander Calder and Andy Warhol, but rather Andy Warhol and Chuck Close, each with two large galleries dedicated to their work. Located next to each other, these four adjoining galleries create a strange dialogue. Three of the galleries — one of Warhol’s and both of Close’s — are filled with large-scale images of individual’s faces. This formal similarity is striking and it is entirely unclear from the presented information what significance this connection holds. It could be that Doris and Donald just liked headshot portraits. Or, collecting the work of one artist led them to become interested in the correlating work of the other. The connection remains unclear, but the multiple galleries of oversized and mostly recognizable faces, coupled with Warhol’s other full-bodied portraits, create a pervasive tone that makes the non-figurative works included on the lower floor seem out of place.\u003c/p>\n\u003cp>Though more traditional works dominate the show, it contains a number of notable exceptions. There is an enthralling multi-media William Kentridge installation and another contemporary video work that have each received their own darkened exhibition spaces. A number of sculptures, including Calder’s, break refreshingly from tradition, and a few, more conceptually based pieces, like Sophie Calle’s text and photographic work “Autobiographical Stories (The Bed),” combine disparate media to great effect.\u003c/p>\n\u003cp>The artworks of the Fischer Collection, though consistently blue chip, range all over the map. However, taken together the works in this show make a unified sort of sense. Spanning numerous decades, and a host of different styles, the collected works evidence certain consistent predilections. Intensely saturated colors are present throughout, defining works by Calder, Warhol, and Kelly, and surfacing distinctly in pieces by Stella, Close, Baldessari, and Baselitz. Brilliant color is not the only connecting thread. The dull, metallic surfaces in John Chamberlain’s surprisingly colorless crumpled steel sculptures strike up an unexpected conversation not only with Richard Serra’s balanced metal slabs and Anselm Kiefer’s lead plane, but also with the sequential galvanized steel boxes of Donald Judd’s wall sculpture. Such connective threads abound and it is a pleasure to note these overlapping thematic trajectories while moving through the exhibition.\u003c/p>\n\u003cp>The Fisher Collection is a substantial addition to SFMoMA’s already impressive holdings. Collectively valued into the hundreds of millions, the collection bolsters areas of the museum’s existing collection and adds significant works by artists previously unrepresented. The scale of this addition is nearly unprecedented, and thankfully its 100-year loan comes with fewer strings than the similar deal Eli Broad struck with LACMA in Los Angles. SFMoMA’s planned expansion to accommodate the collection is still several years away, but this initial exhibition offers an exciting glimpse at the diverse works that will enrich the museum’s programming for years to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Calder to Warhol: Introducing the Fisher Collection\u003c/b> runs through September 19, 2010 at the San Francisco Museum of Modern Art. For \u003ca href=\"http://www.sfmoma.org/exhibitions/412\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though catchy, the title \u003cb>Calder to Warhol\u003c/b> erroneously suggests that this diverse exhibition is either chronologically bounded by the careers of Alexander Calder and Andy Warhol (1925-1987) or stylistically encompassed by their respective works; it is neither. However, this first exhibition at SFMOMA of the recently incorporated Fisher Collection delivers a representative overview of the impressive 1,100 artworks that GAP founder Donald Fisher and his wife Doris amassed over their many years collecting together. Obviously, not every artist is included, and sadly many of the more recent and challenging acquisitions are omitted. But, the show does effectively summarize both the Fisher’s eclectic taste and their unwavering commitment to a number of important artists. This overview does not make the most cohesive show, but it does offer a unique window into Doris and Donald Fisher’s personal collecting vision — a vision that, as the collection is incorporated into SFMOMA’s future programming, will almost certainly be replaced by the museum’s own institutional narrative.\u003c/p>\n\u003cp>One thing I particularly like about this exhibition is that it includes works by slightly less well-known artists as well as those thoroughly canonized. In one room a deep red wooden wall sculpture by Robert Therrien unexpectedly complements a mesh, wood, and tar sculpture by Martin Puryear; the colorful dense angularity of the one setting off the dark hollow presence of the other. The show also has not one Jackson Pollack in it, but includes a colossal painting by Lee Krasner. Krasner’s piece possesses so much of the energy and effortless dynamism of Pollack’s best works that it materially challenges the popular conception of their creative relationship. Krasner’s painting hangs across from a wooden Mark di Suervo sculpture that wonderfully echoes and expands on Krasner’s organically angular painted flourishes.\u003c/p>\n\u003cp>Such revelatory surprises exist throughout the show, but the heart of the Fisher’s collection, and the core of this Calder to Warhol introductory exhibition, is the work of the artists that Doris and Donald Fisher collected in depth. Reflecting this commitment, many of these artists have received designated galleries for their work. Obviously, these include Alexander Calder and Andy Warhol; but also, Agnes Martin, George Baselitz, Cy Twombly, Ellsworth Kelly, Anselm Kiefer, Philip Guston, Richard Serra, Frank Stella, and Chuck Close. Since several core parts of the Fisher’s collection overlap SFMOMA’s own holdings, several of these galleries feel like déjà vu. The Phillip Guston gallery, in particular, is remarkably similar to the Guston gallery included in the previous SFMOMA \u003cb>Focus On Artists\u003c/b> show that this exhibition displaced.\u003c/p>\n\u003cp>The uppermost floor of the exhibition opens with an assortment of works by Alexander Calder. The subsequent galleries expand various aspects present in Calder’s bright, touching, and playful pieces. These galleries include Ellsworth Kelly’s colorful paintings, Richard Serra’s precarious sculptures, Gerhard Richter’s masterful variations, Anselm Kiefer’s emotive works, and a smattering of minimalists’ structural propositions. The upper floor is, in one way, a treatise on Calder’s far-reaching influence. In and of itself, it constitutes a most lovely show.\u003c/p>\n\u003cp>While there is a tranquil tone on the exhibition’s upper floor, it is not without unexpected intersections. The most striking juxtaposes German painters Anselm Kiefer and Gerhard Richter. Richter, a stylistic chameleon is nearly impossible to pin down. His various virtuosic bodies of work are arresting and often quite moving, but remain largely cool and analytical, revealing little of Richter himself. Kiefer, on the other hand, can’t help being Kiefer. Both his paintings and his leaden plane sculpture exhibit a consistent visceral materiality and brooding aesthetic. Unlike the more detached works by Richter, Kiefer’s pieces all exude his personally felt cultural heartache about the horrors enacted during the Second World War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition’s lower floor is less unified. Its warren-like galleries are packed with pieces that sometimes enhance each other and sometimes do not. Though diverse, the floor is curiously anchored by the two most heavily represented artists in the exhibition. Surprisingly, these are not Alexander Calder and Andy Warhol, but rather Andy Warhol and Chuck Close, each with two large galleries dedicated to their work. Located next to each other, these four adjoining galleries create a strange dialogue. Three of the galleries — one of Warhol’s and both of Close’s — are filled with large-scale images of individual’s faces. This formal similarity is striking and it is entirely unclear from the presented information what significance this connection holds. It could be that Doris and Donald just liked headshot portraits. Or, collecting the work of one artist led them to become interested in the correlating work of the other. The connection remains unclear, but the multiple galleries of oversized and mostly recognizable faces, coupled with Warhol’s other full-bodied portraits, create a pervasive tone that makes the non-figurative works included on the lower floor seem out of place.\u003c/p>\n\u003cp>Though more traditional works dominate the show, it contains a number of notable exceptions. There is an enthralling multi-media William Kentridge installation and another contemporary video work that have each received their own darkened exhibition spaces. A number of sculptures, including Calder’s, break refreshingly from tradition, and a few, more conceptually based pieces, like Sophie Calle’s text and photographic work “Autobiographical Stories (The Bed),” combine disparate media to great effect.\u003c/p>\n\u003cp>The artworks of the Fischer Collection, though consistently blue chip, range all over the map. However, taken together the works in this show make a unified sort of sense. Spanning numerous decades, and a host of different styles, the collected works evidence certain consistent predilections. Intensely saturated colors are present throughout, defining works by Calder, Warhol, and Kelly, and surfacing distinctly in pieces by Stella, Close, Baldessari, and Baselitz. Brilliant color is not the only connecting thread. The dull, metallic surfaces in John Chamberlain’s surprisingly colorless crumpled steel sculptures strike up an unexpected conversation not only with Richard Serra’s balanced metal slabs and Anselm Kiefer’s lead plane, but also with the sequential galvanized steel boxes of Donald Judd’s wall sculpture. Such connective threads abound and it is a pleasure to note these overlapping thematic trajectories while moving through the exhibition.\u003c/p>\n\u003cp>The Fisher Collection is a substantial addition to SFMoMA’s already impressive holdings. Collectively valued into the hundreds of millions, the collection bolsters areas of the museum’s existing collection and adds significant works by artists previously unrepresented. The scale of this addition is nearly unprecedented, and thankfully its 100-year loan comes with fewer strings than the similar deal Eli Broad struck with LACMA in Los Angles. SFMoMA’s planned expansion to accommodate the collection is still several years away, but this initial exhibition offers an exciting glimpse at the diverse works that will enrich the museum’s programming for years to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With apologies to the New Riders of the Purple Sage, every year along about this time it all goes flat, which is to say that every summer for the past dozen or so, a non-profit group called The Rock Poster Society (TRPS) has hosted \u003cb>Rock Art By the Bay\u003c/b>, an exhibition of graphic art, illustrations, and collages by some of the most acclaimed rock-poster artists on the West Coast. Frequently held at Fort Mason, the show allows the general public to meet these artists and buy limited edition, signed rock posters from them directly. Or you can just look; either way, getting in the door is free.\u003c/p>\n\u003cp>This year, TRPS has teamed up with another non-profit, the American Poster Institute (API) of Austin, Texas, to present \u003cb>Flatstock 25 — By the Bay\u003c/b>. Held on Saturday, July 10, 2010, from 10am to 6pm at the Hall of Flowers in Golden Gate Park, the show is certain to be the rock poster event of the summer.\u003c/p>\n\u003cp>Since the first \u003cb>Flatstock\u003c/b> in San Francisco in 2002, the changing exhibition has been produced 24 times in Austin (it’s become a fixture at South By Southwest), Chicago, Seattle (ditto at Bumbershoot), and Hamburg. This silver anniversary show is API’s first trip back to the Bay Area where it all began.\u003c/p>\n\u003cp>Among the artists who will be exhibiting in San Francisco are Flatstock co-founders Geoff Peveto and Frank Kozik, who has made a name for himself in recent years designing collectible toys for Kidrobot (his Dunnies are usually the ones wearing a scowl and puffing a cigarette).\u003c/p>\n\u003cp>Many of the \u003cb>Flatstock\u003c/b> artists participating in the show are sure to design special posters just for the event. One who already has is New York City’s David Welker, a visual storyteller whose credits include a lushly surreal album cover for Phish. His obsessively detailed, black-and-white poster for this show features a hairy, bird-like creature screen printing a poster — screen printing is the medium of choice for many poster artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Representing the West Coast and TRPS is Carolyn Ferris, whose loose, psychedelic, red-and-purple mermaids floating amid flowers and leaves could not be more different from Welker’s singular illustration. Also on hand will be Mark Spusta, who was selected to create a poster for TRPS in 2008, and Gary Houston of Voodoo Catbox, whose 2009 TRPS poster freely riffed on one of the most famous images in rock, Rick Griffin’s flying eyeball, which was inspired by Von Dutch and used by Griffin in 1968 to advertise a Jimi Hendrix concert at the Fillmore and Winterland.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Also on hand for \u003cb>Flatstock 25 – By the Bay\u003c/b> will be Bay Area favorites Chuck Sperry, Chris Shaw, Christopher Peterson, Stanley Mouse, David Singer, Lee Conklin, and Randy Tuten, as well as Southern California masters Scrojo and John Van Hamersveld.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flatstock 25 — By the Bay\u003c/b> is July 10, 2010 at the Hall of Flowers in Golden Gate Park. For \u003ca href=\"http://trps.org/upcoming-events.html\">more information\u003c/a> visit trps.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With apologies to the New Riders of the Purple Sage, every year along about this time it all goes flat, which is to say that every summer for the past dozen or so, a non-profit group called The Rock Poster Society (TRPS) has hosted \u003cb>Rock Art By the Bay\u003c/b>, an exhibition of graphic art, illustrations, and collages by some of the most acclaimed rock-poster artists on the West Coast. Frequently held at Fort Mason, the show allows the general public to meet these artists and buy limited edition, signed rock posters from them directly. Or you can just look; either way, getting in the door is free.\u003c/p>\n\u003cp>This year, TRPS has teamed up with another non-profit, the American Poster Institute (API) of Austin, Texas, to present \u003cb>Flatstock 25 — By the Bay\u003c/b>. Held on Saturday, July 10, 2010, from 10am to 6pm at the Hall of Flowers in Golden Gate Park, the show is certain to be the rock poster event of the summer.\u003c/p>\n\u003cp>Since the first \u003cb>Flatstock\u003c/b> in San Francisco in 2002, the changing exhibition has been produced 24 times in Austin (it’s become a fixture at South By Southwest), Chicago, Seattle (ditto at Bumbershoot), and Hamburg. This silver anniversary show is API’s first trip back to the Bay Area where it all began.\u003c/p>\n\u003cp>Among the artists who will be exhibiting in San Francisco are Flatstock co-founders Geoff Peveto and Frank Kozik, who has made a name for himself in recent years designing collectible toys for Kidrobot (his Dunnies are usually the ones wearing a scowl and puffing a cigarette).\u003c/p>\n\u003cp>Many of the \u003cb>Flatstock\u003c/b> artists participating in the show are sure to design special posters just for the event. One who already has is New York City’s David Welker, a visual storyteller whose credits include a lushly surreal album cover for Phish. His obsessively detailed, black-and-white poster for this show features a hairy, bird-like creature screen printing a poster — screen printing is the medium of choice for many poster artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What would you do if someone asked you to create a project based around the theme of time capsules and handed you a budget of $2000? In continuation of its 40th anniversary celebration, the San Francisco Arts Commission Gallery asked a group of artists exactly this, and the resulting exhibit, \u003ca href=\"http://www.sfartscommission.org/gallery/2010/now-and-when/\">Now & When\u003c/a>, consisting of ten newly commissioned pieces, is both entertaining and suggestive. Documenting a moment is a tricky business, an exercise in subjectivity, and the show’s strength is that it consists of projects that address this without being too serious.\u003c/p>\n\u003cp>In \u003cb>Long Shot: Dining, Labor & Ponies\u003c/b>, for instance, Packard Jennings takes a group of friends — other conceptual artists — out for a very expensive dinner, wherein the idea of time capsules is discussed and proposals for projects are made, including investing in a group IRA. In true conceptual form, it’s the documentation that ends up on display, including the bill for dinner. Viewers can choose to watch or read; the whole thing was video-taped, transcribed, and compiled into a document titled “The Invisible Labor of Contemporary Art.” While sometimes I find this technique tedious, in the case of \u003cb>Long Shot\u003c/b>, the tongue-in-cheek humor keeps the piece fresh.\u003c/p>\n\u003cp>While much of the work in the show involves a similar combination of photography, still objects, and video, \u003ca href=\"http://www.pochanostra.com/\">Guillermo Gómez-Peña’s\u003c/a> \u003cb>The Mex Files\u003c/b> is notable for its absence of images. To experience the piece, you must enter a small room, painted orange-red and separated from the rest of the exhibit by a black curtain. The room is big enough for two chairs, which face each other at a distance of only a few feet. Next to the chairs is a small table, on top of which sit an empty bottle of tequila and a shot glass, left over from the opening night. A sound recording of Gómez-Peña reading texts about some of the more important moments in his life plays continuously. Gómez-Peña’s insightful humor and eroticism, in combination with the architecture of the space, create the feeling of an intimate ceremony, and leave me thinking that storytelling had to have been the original time capsule.\u003c/p>\n\u003cp>Perhaps the most poignant example of the subjectivity inherent in any form of documentation, however, is Gay Outlaw and Bob Schmitz’s piece \u003cb>Do Not Enter (Angus’s Room)\u003c/b>. For \u003cb>Do Not Enter\u003c/b>, the artists obsessively engaged the parental impulse to arrest the speed of childhood by photographing every last object in their nine-year-old son’s room, creating a catalog of the resulting images. Some of these images have been reprinted at their original scale, including the pattern of glow-in-the-dark stars on Angus’s wall. The catalog is also available for perusal in book form, but the heart of \u003cb>Do Not Enter\u003c/b> is a large mobile on which dangle replications of Angus’s most precious objects at various scales, including Yu-Gi-Oh! cards, a baseball and a super-sized Lego-head.\u003c/p>\n\u003cp>The plan is to pack \u003cb>Do Not Enter\u003c/b> away and show it again in 40 years, and it is this piece of information that most sums up \u003cb>Now & When\u003c/b>: rather than saving the actual contents of Angus’s room, it will be Outlaw and Schmitz’s catalogue and mobile that stand in for time’s detritus. No matter how much energy we put into accurately capturing a moment, ultimately all we are left with are our own interpretations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Now & When\u003c/b> is on display at the San Francisco Arts Commission Gallery until September 4, 2010. Guillermo Gómez-Peña will be giving personal, one-on-one performances of his piece on July 15, 2010, from 6 – 8pm. For \u003ca href=\"http://www.sfartscommission.org/gallery/\">more information\u003c/a> visit sfartscommission.org.\u003c/p>\n\n",
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"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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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>",
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"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?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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