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"content": "\u003cp>The \u003ca href=\"http://www.philadelphiahistory.org/index.php\" target=\"_blank\" rel=\"noopener\">Philadelphia History Museum\u003c/a> has been closed for two years, and when it reopens this spring, it will display thousands of objects — everything from fine art to firearms. But more than 2,000 items from the museum’s collection will be more notable for their absence.\u003c/p>\n\u003cp>That’s because they were sold to help pay for the multimillion-dollar renovation of the museum’s 19th century building, sparking a debate in the field of museum ethics.\u003c/p>\n\u003cp>Viki Sand, the museum’s former director, says the renovation was essential to the museum’s conservation abilities.\u003c/p>\n\u003cp>“It does no good to conserve an individual object if you put it back into the very environment that caused it to deteriorate in the first place,” she says.\u003c/p>\n\u003cp>Sand says the museum lacked basics like adequate lighting and modern climate control systems. But that won’t be an issue after its $6 million renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Duncan Phillips lived that lesson when he began giving beauty to the public 90 years ago. The Phillips Collection remains a repository of lessons about beauty and generosity.\u003c/p>\n\n",
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"excerpt": "This year marks the 90th anniversary of The Phillips Collection, one of Washington D.C.'s premier art museums. Susan Stamberg reports on the man behind the museum, and what the space has meant to artists, writers and actors over time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, republished some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_steven_leiber/\">originally published\u003c/a> December 27, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003cem>The following excerpted conversation is from an interview that took place on October 9, 2010, at Baer Ridgway Exhibitions in conjunction with Chris Duncan’s \u003c/em>\u003ca href=\"http://www.baerridgway.com/Baer_Ridgway_Exhibitions/Chris_Duncan_-_Exhibition__Eye_Against_I.html\">Eye Against I\u003c/a> \u003cem>exhibition there.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews:\u003c/strong> Welcome to Bad at Sports! I’m Brian Andrews, here with Patricia Maloney and Duncan MacKenzie.This time, we’re with Steven Leiber, who runs \u003ca href=\"http://stevenleiberbasement.com/\">Steven Leiber Basement\u003c/a> and deals in art books, editions, collectables, and art-related emphemera.\u003c/p>\n\u003cp>\u003cstrong>Steven Leiber:\u003c/strong> I’m a private art dealer, but in addition to selling art, I sell art books, artists’ books, and documents concerning contemporary art. I also publish editions under the imprint Right Editions. I do appraisals and archive appraisals. I consult with two collections, and spend some time working at the California College of the Arts as well.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> Here in the Bay Area, you are most strongly associated with the ephemera that you work with. So I want to start by asking about how you found yourself dealing in artists’ books and ephemera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I initially started in the art world just selling regular works, photographs, and prints at a gallery here that no longer exists. At the same time, or soon thereafter, I was also going to law school. Then I had a small gallery of my own for a short period of time selling paintings, drawings, prints, and things like this.\u003c/p>\n\u003cp>I bought a collection in the late ’80s that came from an artist, \u003ca href=\"http://stendhalgallery.com/?p=3504\">Jeff Berner\u003c/a>, who was associated with \u003ca href=\"http://www.fluxus.org/12345678910.html\">Fluxus\u003c/a>. He had a Flux shop; I’m not sure how functional it was. What I mean is, I’m not sure it was a shop. It wasn’t clear to me that he sold very many editions. Granted, not that many Fluxus editions were sold between 1961 and 1978, so this guy had multiple copies of this or that edition. In addition, this collection also had a great deal of material concerning visual poetry, concrete poetry, and a certain amount of Beat and countercultural material from the ’60s. In the process of making sense of what this collection was — I mean it’s a bit of an exaggeration to call it a collection. It was twenty-one boxes of material without an index in no order, just twenty-one boxes of crap.\u003c/p>\n\u003cp>And I think I spent approximately a year with a colleague making sense of it. In the process, it became clear to me that what was most exciting was not the most obvious material, not the things that I actually went to buy, which was primarily the Fluxus material; it was the other things. For Fluxus events or festivals, there wasn’t necessarily a thing that would have come out of the exhibition. You didn’t buy a painting; you showed up, saw what went on, and in time, what becomes the collectable aspect of it is the flyer, the poster, the relic, the printed material that was generated from these events.\u003c/p>\n\u003cp>So I guess my interest in artist ephemera specifically, and art ephemera in general, grows out of that inquiry.\u003c/p>\n\u003cp>(In 2001), I curated a show, \u003ca href=\"ttp://www.wattis.org/exhibitions/extraart/\">\u003cem>Extra Art: Survey of Artists’ Ephemera\u003c/em>\u003c/a>, at the Wattis, along with a publication published by the Wattis and Smart Art Press. I essentially went deeper into that territory. I’ve stayed more or less constant with an interest in that kind of material, both as a collector and a dealer. I have an archive of the material that I deal in. In fact, at a certain moment in time, especially within the areas of artists’ books, artists’ ephemera, and Fluxus, I was selling only duplicates. I wanted to retain copies of these things.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> When you’re looking at ephemera, what are the particular things that you focus on for your own collection? Because it encompasses everything, including announcements, postcards, and posters.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I distinguish art ephemera from artist ephemera. In \u003cem>artist\u003c/em> ephemera, the artist specifically informs the design of the thing itself, or they’ve come up with the idea of it. The rest of the ephemera I just refer to as \u003cem>art\u003c/em> ephemera. And I collect both — I keep it because I have artist files on maybe a thousand artists — but my primary interest is in the artist ephemera.\u003c/p>\n\u003cp>In the process of doing the \u003cem>Extra Art\u003c/em> show, there was a very specific way I went about determining what material fell into this category. I contacted the included artists when they were alive and were contactable. In other cases, I worked from books that already included this type of material, such as their monographs.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> And is it through the artists that you primarily acquire this material, or do you also go through galleries?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I specialize in mostly material from the ’60s and ’70s for my collection. The material from the ’80s, ’90s, and present, I get when I go to gallery shows in Western Europe and America. I also receive the mail of three different collectors who either forward the mail to me or give it to me in bags every so often. I buy this type of material wherever you can imagine buying it. There have been collectors that I’ve bought hundreds of invitations, posters, and bits like this from.\u003c/p>\n\u003cp>There was a collection in Los Angeles that was put together by Charles Goodstein and his wife. They were consistent collectors; they were in the art world in L.A. from the ’60s until now, and somebody told the wife to call me because there aren’t that many people interested in this type of material.\u003c/p>\n\u003cp>They offered it to me. Basically the woman had various cabinets full of this material, and she just wanted to get rid of it. I purchased a large group of things at that point. Over the years, there have been many other collections that I found such material in. Big blocks of material coming from art historians and dealers. I bought duplicates from various museums. So anywhere you think you could buy such material, I’ve bought it.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I understand that impulse to hold on to the announcements. When I started going to galleries as an undergraduate, I collected the cards from every single show. Initially it was for a class, and we had to show that we attended the exhibition, but it became almost a compulsion. I wanted to remember every exhibition that I went to by holding on to the postcard or the announcement. There was a moment when we were moving from New York to San Francisco that I had something like seven banker boxes full of these announcements. My husband was like, “\u003cem>Really\u003c/em>? These have to come? Why do these have to come? What do you do with these?” But it feels like it’s part of my history as someone engaged in the art world. Now many galleries create just an email or a Facebook announcement.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think that’s why some people have held on to such material. But I wouldn’t say that that’s my interest. Although I collect possibly far too much material, I wouldn’t say that I’m looking to get every document that’s been published. In terms of the material that goes into these artist files, I’m even more focused on getting things like press releases, because they have more use value, or how I use it.\u003c/p>\n\u003cp>For example, with students, I’m often pulling out artist file material for them to review for, say, an essay on a particular artwork. I provide the students with the research material to write their essay. There’s basic information in these artist files. I keep clippings, photographs of works that I’ve sold or that were offered to me, price lists, as much documentation as I can or that I have access to, or that comes to me on the artist that I’m covering. I would say that for the type of material, I’m using it.\u003c/p>\n\u003cp>In terms of the artist ephemera, it’s another thing. I view those things as essentially being artwork-like production. If I had another kind of place, a different kind of housing for the material that I have, these things would be relegated to a different position than they are in my present archive. They’re primarily in flat files or file folders.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> What are the parameters that you set around whose work you’re collecting? Because you’re covering a pretty broad range of forty to fifty years at this point.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of the material from the ’60s and ’70s, it’s pretty simple. In terms of the artwork that I have in my collection — \u003cem>not\u003c/em> artist ephemera, but the artworks that I have in my collection — it’s mostly multiples, works on paper, drawings, and prints. I’ve collected Fluxus, Minimalism, Post-Minimalism, and Conceptual Art in some depth. It’s not a huge collection, but I’ve got about 125 works. Obviously there’s a certain number of players that are associated with Fluxus, with Minimalism, Conceptual Art, etc. The names are known. And that is the list I’m working off of essentially.\u003c/p>\n\u003cp>With regards to how I even got involved with documentation at all, I was using exhibition catalogues and monographs to find works that I was selling in the secondary market. And in the process of going to all the galleries that might have what I’m looking for, I was also going to all the bookstores. That’s when I was picking up these catalogues that we never saw in America. They had different types of information. At the same time, I became more involved with or aware of artists’ books.That’s how it built and how the expanse of artists that I’m collecting became identified.\u003c/p>\n\u003cp>\u003cstrong>SL \u003c/strong>: From the ’80s to what’s going on now, I would say it’s based on my understanding of what’s going on in the various cities that I know. I feel like I have a clue as to the galleries that are maybe more germane in San Francisco, Los Angeles, and New York, and the same thing in many of the European capitals. So while I don’t know each one of the artists’ works, if I’m getting a card or a poster from \u003ca href=\"http://www.greengrassi.com/\">Greengrassi\u003c/a>, in London, or \u003ca href=\"http://www.formerwest.org/ResearchLibrary/GaleriePeterPakesch19811993\" target=\"_blank\" rel=\"noopener\">Peter Pakesch\u003c/a>, in Austria, I have a sense of the lineage of these galleries, and some of the artists they show. If I get a document from one of these places, I’m more likely to archive it in some way.\u003c/p>\n\u003cp>\u003cstrong>Duncan MacKenzie:\u003c/strong> As a secondary dealer, I imagine that some of the stuff you have comes and goes, depending on your activity, but this large artist collection seems to have some other life on its own that you draw from. What sort of future or use do you see this collection that you’re so carefully building having? Or has in the world?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> If you’re speaking directly to the documentation — the art ephemera files — I would say that I don’t have a specific plan for it at the moment. I’m still using it. For the moment I can still house it. I don’t feel I spend enough time maintaining it, but to catalogue it, I’d have to hire somebody for some years to do it. And I couldn’t afford to maintain it in that way, and I don’t have the time at present to catalogue it. I think if it ever does reach a catalogue state, then I think it has different access points. I think it could be useful to others if it was an online archive.\u003c/p>\n\u003cp>For my ’90s collection of multiples — that’s another collection that I have — I was very conscious about collecting all the documents that tied to the artists in that collection, because I always conceived of doing an exhibition that combined all of it. I’m not sure how often you have seen exhibitions lately that incorporate both works and documentation of historical shows. Certainly in Europe, it’s become much more prevalent that institutions are showing both types of material simultaneously.\u003c/p>\n\u003cp>I’m going a little bit away from the question, but there seems to be a move toward this material. I think that newer museums don’t have this artist file material, and certain institutions that did have this material jettisoned it at some point for various reasons. It does require a lot of maintenance, and I could see how it doesn’t happen these days with budgets. It’s not clear to me that all researchers use this type of material. So I could see how it would be relegated to a less important position.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>It operates as this alternative but concurrent history to the majority of what one sees in the museums and institutions. Have there been things that you’ve teased out from your material that present an alternate view on the prevailing sensibility around an artist’s work, what they’re doing, or what their intentions are?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Certainly the stories. What was so fascinating from the get-go in doing the \u003cem>Extra Art \u003c/em>exhibition was the fact that a lot of these bits and pieces of paper have very particular stories. And when one was in contact with these artists and when you heard these stories, all of a sudden you viewed their practice in a very different way.\u003c/p>\n\u003cp>There aren’t that many artists that see these as other spaces — the exhibition card space, the poster that they could have, or anything else they dream up that, as spaces that could be used to present work, which is what essentially they did, just not the kind of work that is for sale. Often these things were the key to the exhibition, where the fascinating aspect of the project was — not always the design of the works, but the stories.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> This is material that’s supposed to exist outside and beyond the exhibition itself. It’s described as ephemera, but essentially it’s the exhibition that is ephemeral, and this is what survives. And when you organize exhibitions of this material you’re bringing it back into that exhibition space. What is your thought process on presenting it so it doesn’t just get swallowed up by that overriding sense of the exhibition?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I guess it completely depends on the specific kind of exhibition. My thought in doing a survey exhibition that’s only covering this type of material was to make otherwise unknown material known. It was that simple. There was no larger premise to it. It wasn’t how something that was ephemeral, that basically was intended to announce a show plus more, would end up thirty years later being an exhibition in itself, and possibly the change of value of that type of material.\u003c/p>\n\u003cp>I thought that there was enough to let it be known that this type of material exists, and that these sorts of artists, besides making a floor piece in copper, also spend a great deal of time thinking about what was going on the invitation card.\u003c/p>\n\u003cp>So in terms of exhibitions that incorporate this kind of material now, as only an aspect of the material that’s shown, I feel that it contextualizes what’s in the show. You might say it sets the stage and it provides texture to an exhibition that otherwise might be just what you’re always expecting to see. These things provide the surprise, and sometimes provide a key to the work, or a key to understanding the work in a different way.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I produce an online art journal, and it exists online in part because it’s much more affordable than producing something in print. And it creates a network of distribution. The (\u003cem>Bad at Sports\u003c/em>) podcast exists because it happens online. But that starts to undermine archives of art activities. Things can be digitally archived, but there’s this loss of the physical archive. I am curious to hear what you think about that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> For me it certainly impacts the situation. When there’s less of this type of material being produced, I’m certainly going to have less, because I’m certain that I’m not going to be archiving what you’re doing. I’m not keeping my emails even if they’re from artists. When we’re producing editions, I’m not printing out every single email I get and putting it into a dossier.\u003c/p>\n\u003cp>But this is a major issue. You’re absolutely right. There are certainly conferences that are going on right now concerning exactly this. I guess if there is no more material like this produced then I can just catalogue what I’ve got. Not likely.\u003c/p>\n\u003cp>\u003cstrong>DMcK\u003c/strong>: It also seems that in this age of digital advertising for exhibitions, there has been at least a little bit of resistance. I think a lot more people are going back and intentionally producing posters for shows.\u003c/p>\n\u003cp>Primarily I teach printmaking, and I often would take a stance that as printmakers, the space that is most interesting to work in is the ephemera space. It’s not creating things — you know, we’re not all Gemini, we’re not all going to be master printers, and for the most part, let’s face it, printmaking wants desperately to be the next ceramics.\u003c/p>\n\u003cp>And so I constantly find myself trying to get my students to think about what they do in terms of printmaking and in artists’ book making, and all sorts of multiple-making as ephemera work. As though they are producing something for a wider culture. They’re having a wider cultural engagement, and that changes the space.\u003c/p>\n\u003cp>When \u003ca href=\"http://www.richardlong.org/\">Richard Long\u003c/a> takes his postcard and sends it out to ten thousand people, maybe a thousand of them are actually going to attend the exhibition. So this becomes a kind of access point to another kind of meaning. This is another space to play out ideas that can traffic more broadly.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> That’s the way the work gets known, by the broader distribution. Most people that received a Richard Long postcard for an exhibition in Korea are not going. I absolutely agree that the ephemera is pretty much the primary carrier of the work. It behooves the artist to pay attention.\u003c/p>\n\u003cp>\u003cstrong>DMcK:\u003c/strong> The other thing that occurs to me is that all artworks become artifacts, or all successful artworks become artifacts of the culture that produce them in some way. Those that don’t successfully make that transition to artifact just get lost in the shuffle. It’s interesting that you would focus primarily on that ephemera space as the space in which that most important meaning of transaction occurs and that is the most important space from these things.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Thank you for putting that out there.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> We haven’t talked about the artists’ books at all. Maybe we can delve into that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think I already touched on how I started buying artists’ books for my own collection, in the process of doing research on the artists that I was covering. These books didn’t provide the research that I was looking for in terms of reproductions of works and exhibition history information, but they were clearly works. From there, I became more interested in artists’ books in the late ’80s and early ’90s when the art market went crap. I felt I might be able to start a variant of what I was doing by offering artists’ books for sale. So I went after collections of this sort of material, and that’s when I started making these catalogues. Probably the majority of my clients come from my activity as an artists’ book seller.\u003c/p>\n\u003cp>It is a passion of mine; it just got a a little crowded by my interest in ephemera over the years. But, I’m still very interested in such material, and my (catalogues are) primarily that type of material. One of the catalogues that we’re making right now for the upcoming \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a> is going to concern only unique books by two twins from Germany named \u003ca href=\"http://stevenleiberbasement.com/unique.php?aoffst=22&typ_fltr2=unique&afltr=SCHMIDT-HEINS,%20GABRIELE\">Barbara and Gabriele Schmidt-Heins\u003c/a>, and the other is going to be a poster for my catalogue that’s going to have approximately a hundred special artists’ books primarily from the ’60s and ’70s.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Are you producing catalogues or are you producing some of these artists’ books?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of Right Editions, we’ve produced one multiple artist book. That’s a difficult example, it’s a ten-volume set in a slipcase, and it bears some relationship to a cube, so it has a kind of object quality, but you might say it’s a ten-volume artist book. But when I’m talking about catalogues, I’m talking about my dealer sales catalogues, which look a little bit different than many other people’s dealer sales catalogues.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Is there a meta level to this, to know that you’re actually producing and doing exhibitions and all this other stuff. Are you actually then generating your own ephemera? Do you have a file on yourself?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Yeah, I mean I have an archive of what we’ve done. But no, it doesn’t say Steve Leiber. It’s actually too big to fit in the file.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To hear the full interview, listen to\u003ca href=\"http://badatsports.com/2010/episode-278-steven-leiber/\"> Episode 278 \u003c/a> on \u003cem>Bad at Sports\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, republished some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_steven_leiber/\">originally published\u003c/a> December 27, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003cem>The following excerpted conversation is from an interview that took place on October 9, 2010, at Baer Ridgway Exhibitions in conjunction with Chris Duncan’s \u003c/em>\u003ca href=\"http://www.baerridgway.com/Baer_Ridgway_Exhibitions/Chris_Duncan_-_Exhibition__Eye_Against_I.html\">Eye Against I\u003c/a> \u003cem>exhibition there.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews:\u003c/strong> Welcome to Bad at Sports! I’m Brian Andrews, here with Patricia Maloney and Duncan MacKenzie.This time, we’re with Steven Leiber, who runs \u003ca href=\"http://stevenleiberbasement.com/\">Steven Leiber Basement\u003c/a> and deals in art books, editions, collectables, and art-related emphemera.\u003c/p>\n\u003cp>\u003cstrong>Steven Leiber:\u003c/strong> I’m a private art dealer, but in addition to selling art, I sell art books, artists’ books, and documents concerning contemporary art. I also publish editions under the imprint Right Editions. I do appraisals and archive appraisals. I consult with two collections, and spend some time working at the California College of the Arts as well.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> Here in the Bay Area, you are most strongly associated with the ephemera that you work with. So I want to start by asking about how you found yourself dealing in artists’ books and ephemera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I initially started in the art world just selling regular works, photographs, and prints at a gallery here that no longer exists. At the same time, or soon thereafter, I was also going to law school. Then I had a small gallery of my own for a short period of time selling paintings, drawings, prints, and things like this.\u003c/p>\n\u003cp>I bought a collection in the late ’80s that came from an artist, \u003ca href=\"http://stendhalgallery.com/?p=3504\">Jeff Berner\u003c/a>, who was associated with \u003ca href=\"http://www.fluxus.org/12345678910.html\">Fluxus\u003c/a>. He had a Flux shop; I’m not sure how functional it was. What I mean is, I’m not sure it was a shop. It wasn’t clear to me that he sold very many editions. Granted, not that many Fluxus editions were sold between 1961 and 1978, so this guy had multiple copies of this or that edition. In addition, this collection also had a great deal of material concerning visual poetry, concrete poetry, and a certain amount of Beat and countercultural material from the ’60s. In the process of making sense of what this collection was — I mean it’s a bit of an exaggeration to call it a collection. It was twenty-one boxes of material without an index in no order, just twenty-one boxes of crap.\u003c/p>\n\u003cp>And I think I spent approximately a year with a colleague making sense of it. In the process, it became clear to me that what was most exciting was not the most obvious material, not the things that I actually went to buy, which was primarily the Fluxus material; it was the other things. For Fluxus events or festivals, there wasn’t necessarily a thing that would have come out of the exhibition. You didn’t buy a painting; you showed up, saw what went on, and in time, what becomes the collectable aspect of it is the flyer, the poster, the relic, the printed material that was generated from these events.\u003c/p>\n\u003cp>So I guess my interest in artist ephemera specifically, and art ephemera in general, grows out of that inquiry.\u003c/p>\n\u003cp>(In 2001), I curated a show, \u003ca href=\"ttp://www.wattis.org/exhibitions/extraart/\">\u003cem>Extra Art: Survey of Artists’ Ephemera\u003c/em>\u003c/a>, at the Wattis, along with a publication published by the Wattis and Smart Art Press. I essentially went deeper into that territory. I’ve stayed more or less constant with an interest in that kind of material, both as a collector and a dealer. I have an archive of the material that I deal in. In fact, at a certain moment in time, especially within the areas of artists’ books, artists’ ephemera, and Fluxus, I was selling only duplicates. I wanted to retain copies of these things.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> When you’re looking at ephemera, what are the particular things that you focus on for your own collection? Because it encompasses everything, including announcements, postcards, and posters.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I distinguish art ephemera from artist ephemera. In \u003cem>artist\u003c/em> ephemera, the artist specifically informs the design of the thing itself, or they’ve come up with the idea of it. The rest of the ephemera I just refer to as \u003cem>art\u003c/em> ephemera. And I collect both — I keep it because I have artist files on maybe a thousand artists — but my primary interest is in the artist ephemera.\u003c/p>\n\u003cp>In the process of doing the \u003cem>Extra Art\u003c/em> show, there was a very specific way I went about determining what material fell into this category. I contacted the included artists when they were alive and were contactable. In other cases, I worked from books that already included this type of material, such as their monographs.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> And is it through the artists that you primarily acquire this material, or do you also go through galleries?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I specialize in mostly material from the ’60s and ’70s for my collection. The material from the ’80s, ’90s, and present, I get when I go to gallery shows in Western Europe and America. I also receive the mail of three different collectors who either forward the mail to me or give it to me in bags every so often. I buy this type of material wherever you can imagine buying it. There have been collectors that I’ve bought hundreds of invitations, posters, and bits like this from.\u003c/p>\n\u003cp>There was a collection in Los Angeles that was put together by Charles Goodstein and his wife. They were consistent collectors; they were in the art world in L.A. from the ’60s until now, and somebody told the wife to call me because there aren’t that many people interested in this type of material.\u003c/p>\n\u003cp>They offered it to me. Basically the woman had various cabinets full of this material, and she just wanted to get rid of it. I purchased a large group of things at that point. Over the years, there have been many other collections that I found such material in. Big blocks of material coming from art historians and dealers. I bought duplicates from various museums. So anywhere you think you could buy such material, I’ve bought it.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I understand that impulse to hold on to the announcements. When I started going to galleries as an undergraduate, I collected the cards from every single show. Initially it was for a class, and we had to show that we attended the exhibition, but it became almost a compulsion. I wanted to remember every exhibition that I went to by holding on to the postcard or the announcement. There was a moment when we were moving from New York to San Francisco that I had something like seven banker boxes full of these announcements. My husband was like, “\u003cem>Really\u003c/em>? These have to come? Why do these have to come? What do you do with these?” But it feels like it’s part of my history as someone engaged in the art world. Now many galleries create just an email or a Facebook announcement.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think that’s why some people have held on to such material. But I wouldn’t say that that’s my interest. Although I collect possibly far too much material, I wouldn’t say that I’m looking to get every document that’s been published. In terms of the material that goes into these artist files, I’m even more focused on getting things like press releases, because they have more use value, or how I use it.\u003c/p>\n\u003cp>For example, with students, I’m often pulling out artist file material for them to review for, say, an essay on a particular artwork. I provide the students with the research material to write their essay. There’s basic information in these artist files. I keep clippings, photographs of works that I’ve sold or that were offered to me, price lists, as much documentation as I can or that I have access to, or that comes to me on the artist that I’m covering. I would say that for the type of material, I’m using it.\u003c/p>\n\u003cp>In terms of the artist ephemera, it’s another thing. I view those things as essentially being artwork-like production. If I had another kind of place, a different kind of housing for the material that I have, these things would be relegated to a different position than they are in my present archive. They’re primarily in flat files or file folders.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> What are the parameters that you set around whose work you’re collecting? Because you’re covering a pretty broad range of forty to fifty years at this point.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of the material from the ’60s and ’70s, it’s pretty simple. In terms of the artwork that I have in my collection — \u003cem>not\u003c/em> artist ephemera, but the artworks that I have in my collection — it’s mostly multiples, works on paper, drawings, and prints. I’ve collected Fluxus, Minimalism, Post-Minimalism, and Conceptual Art in some depth. It’s not a huge collection, but I’ve got about 125 works. Obviously there’s a certain number of players that are associated with Fluxus, with Minimalism, Conceptual Art, etc. The names are known. And that is the list I’m working off of essentially.\u003c/p>\n\u003cp>With regards to how I even got involved with documentation at all, I was using exhibition catalogues and monographs to find works that I was selling in the secondary market. And in the process of going to all the galleries that might have what I’m looking for, I was also going to all the bookstores. That’s when I was picking up these catalogues that we never saw in America. They had different types of information. At the same time, I became more involved with or aware of artists’ books.That’s how it built and how the expanse of artists that I’m collecting became identified.\u003c/p>\n\u003cp>\u003cstrong>SL \u003c/strong>: From the ’80s to what’s going on now, I would say it’s based on my understanding of what’s going on in the various cities that I know. I feel like I have a clue as to the galleries that are maybe more germane in San Francisco, Los Angeles, and New York, and the same thing in many of the European capitals. So while I don’t know each one of the artists’ works, if I’m getting a card or a poster from \u003ca href=\"http://www.greengrassi.com/\">Greengrassi\u003c/a>, in London, or \u003ca href=\"http://www.formerwest.org/ResearchLibrary/GaleriePeterPakesch19811993\" target=\"_blank\" rel=\"noopener\">Peter Pakesch\u003c/a>, in Austria, I have a sense of the lineage of these galleries, and some of the artists they show. If I get a document from one of these places, I’m more likely to archive it in some way.\u003c/p>\n\u003cp>\u003cstrong>Duncan MacKenzie:\u003c/strong> As a secondary dealer, I imagine that some of the stuff you have comes and goes, depending on your activity, but this large artist collection seems to have some other life on its own that you draw from. What sort of future or use do you see this collection that you’re so carefully building having? Or has in the world?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> If you’re speaking directly to the documentation — the art ephemera files — I would say that I don’t have a specific plan for it at the moment. I’m still using it. For the moment I can still house it. I don’t feel I spend enough time maintaining it, but to catalogue it, I’d have to hire somebody for some years to do it. And I couldn’t afford to maintain it in that way, and I don’t have the time at present to catalogue it. I think if it ever does reach a catalogue state, then I think it has different access points. I think it could be useful to others if it was an online archive.\u003c/p>\n\u003cp>For my ’90s collection of multiples — that’s another collection that I have — I was very conscious about collecting all the documents that tied to the artists in that collection, because I always conceived of doing an exhibition that combined all of it. I’m not sure how often you have seen exhibitions lately that incorporate both works and documentation of historical shows. Certainly in Europe, it’s become much more prevalent that institutions are showing both types of material simultaneously.\u003c/p>\n\u003cp>I’m going a little bit away from the question, but there seems to be a move toward this material. I think that newer museums don’t have this artist file material, and certain institutions that did have this material jettisoned it at some point for various reasons. It does require a lot of maintenance, and I could see how it doesn’t happen these days with budgets. It’s not clear to me that all researchers use this type of material. So I could see how it would be relegated to a less important position.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>It operates as this alternative but concurrent history to the majority of what one sees in the museums and institutions. Have there been things that you’ve teased out from your material that present an alternate view on the prevailing sensibility around an artist’s work, what they’re doing, or what their intentions are?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Certainly the stories. What was so fascinating from the get-go in doing the \u003cem>Extra Art \u003c/em>exhibition was the fact that a lot of these bits and pieces of paper have very particular stories. And when one was in contact with these artists and when you heard these stories, all of a sudden you viewed their practice in a very different way.\u003c/p>\n\u003cp>There aren’t that many artists that see these as other spaces — the exhibition card space, the poster that they could have, or anything else they dream up that, as spaces that could be used to present work, which is what essentially they did, just not the kind of work that is for sale. Often these things were the key to the exhibition, where the fascinating aspect of the project was — not always the design of the works, but the stories.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> This is material that’s supposed to exist outside and beyond the exhibition itself. It’s described as ephemera, but essentially it’s the exhibition that is ephemeral, and this is what survives. And when you organize exhibitions of this material you’re bringing it back into that exhibition space. What is your thought process on presenting it so it doesn’t just get swallowed up by that overriding sense of the exhibition?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I guess it completely depends on the specific kind of exhibition. My thought in doing a survey exhibition that’s only covering this type of material was to make otherwise unknown material known. It was that simple. There was no larger premise to it. It wasn’t how something that was ephemeral, that basically was intended to announce a show plus more, would end up thirty years later being an exhibition in itself, and possibly the change of value of that type of material.\u003c/p>\n\u003cp>I thought that there was enough to let it be known that this type of material exists, and that these sorts of artists, besides making a floor piece in copper, also spend a great deal of time thinking about what was going on the invitation card.\u003c/p>\n\u003cp>So in terms of exhibitions that incorporate this kind of material now, as only an aspect of the material that’s shown, I feel that it contextualizes what’s in the show. You might say it sets the stage and it provides texture to an exhibition that otherwise might be just what you’re always expecting to see. These things provide the surprise, and sometimes provide a key to the work, or a key to understanding the work in a different way.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I produce an online art journal, and it exists online in part because it’s much more affordable than producing something in print. And it creates a network of distribution. The (\u003cem>Bad at Sports\u003c/em>) podcast exists because it happens online. But that starts to undermine archives of art activities. Things can be digitally archived, but there’s this loss of the physical archive. I am curious to hear what you think about that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> For me it certainly impacts the situation. When there’s less of this type of material being produced, I’m certainly going to have less, because I’m certain that I’m not going to be archiving what you’re doing. I’m not keeping my emails even if they’re from artists. When we’re producing editions, I’m not printing out every single email I get and putting it into a dossier.\u003c/p>\n\u003cp>But this is a major issue. You’re absolutely right. There are certainly conferences that are going on right now concerning exactly this. I guess if there is no more material like this produced then I can just catalogue what I’ve got. Not likely.\u003c/p>\n\u003cp>\u003cstrong>DMcK\u003c/strong>: It also seems that in this age of digital advertising for exhibitions, there has been at least a little bit of resistance. I think a lot more people are going back and intentionally producing posters for shows.\u003c/p>\n\u003cp>Primarily I teach printmaking, and I often would take a stance that as printmakers, the space that is most interesting to work in is the ephemera space. It’s not creating things — you know, we’re not all Gemini, we’re not all going to be master printers, and for the most part, let’s face it, printmaking wants desperately to be the next ceramics.\u003c/p>\n\u003cp>And so I constantly find myself trying to get my students to think about what they do in terms of printmaking and in artists’ book making, and all sorts of multiple-making as ephemera work. As though they are producing something for a wider culture. They’re having a wider cultural engagement, and that changes the space.\u003c/p>\n\u003cp>When \u003ca href=\"http://www.richardlong.org/\">Richard Long\u003c/a> takes his postcard and sends it out to ten thousand people, maybe a thousand of them are actually going to attend the exhibition. So this becomes a kind of access point to another kind of meaning. This is another space to play out ideas that can traffic more broadly.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> That’s the way the work gets known, by the broader distribution. Most people that received a Richard Long postcard for an exhibition in Korea are not going. I absolutely agree that the ephemera is pretty much the primary carrier of the work. It behooves the artist to pay attention.\u003c/p>\n\u003cp>\u003cstrong>DMcK:\u003c/strong> The other thing that occurs to me is that all artworks become artifacts, or all successful artworks become artifacts of the culture that produce them in some way. Those that don’t successfully make that transition to artifact just get lost in the shuffle. It’s interesting that you would focus primarily on that ephemera space as the space in which that most important meaning of transaction occurs and that is the most important space from these things.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Thank you for putting that out there.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> We haven’t talked about the artists’ books at all. Maybe we can delve into that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think I already touched on how I started buying artists’ books for my own collection, in the process of doing research on the artists that I was covering. These books didn’t provide the research that I was looking for in terms of reproductions of works and exhibition history information, but they were clearly works. From there, I became more interested in artists’ books in the late ’80s and early ’90s when the art market went crap. I felt I might be able to start a variant of what I was doing by offering artists’ books for sale. So I went after collections of this sort of material, and that’s when I started making these catalogues. Probably the majority of my clients come from my activity as an artists’ book seller.\u003c/p>\n\u003cp>It is a passion of mine; it just got a a little crowded by my interest in ephemera over the years. But, I’m still very interested in such material, and my (catalogues are) primarily that type of material. One of the catalogues that we’re making right now for the upcoming \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a> is going to concern only unique books by two twins from Germany named \u003ca href=\"http://stevenleiberbasement.com/unique.php?aoffst=22&typ_fltr2=unique&afltr=SCHMIDT-HEINS,%20GABRIELE\">Barbara and Gabriele Schmidt-Heins\u003c/a>, and the other is going to be a poster for my catalogue that’s going to have approximately a hundred special artists’ books primarily from the ’60s and ’70s.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Are you producing catalogues or are you producing some of these artists’ books?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of Right Editions, we’ve produced one multiple artist book. That’s a difficult example, it’s a ten-volume set in a slipcase, and it bears some relationship to a cube, so it has a kind of object quality, but you might say it’s a ten-volume artist book. But when I’m talking about catalogues, I’m talking about my dealer sales catalogues, which look a little bit different than many other people’s dealer sales catalogues.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Is there a meta level to this, to know that you’re actually producing and doing exhibitions and all this other stuff. Are you actually then generating your own ephemera? Do you have a file on yourself?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Yeah, I mean I have an archive of what we’ve done. But no, it doesn’t say Steve Leiber. It’s actually too big to fit in the file.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear the full interview, listen to\u003ca href=\"http://badatsports.com/2010/episode-278-steven-leiber/\"> Episode 278 \u003c/a> on \u003cem>Bad at Sports\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is This The World's Most Coveted Painting?",
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"content": "\u003cp>It’s the size of a barn door, weighs more than an elephant, and is one of the most famous and coveted paintings in the world.\u003c/p>\n\u003cp>It’s the Ghent Altarpiece — also called \u003cem>Adoration of the Mystic Lamb, \u003c/em>after a central panel showing hordes of pilgrims gathered to pay homage to the Lamb of God.\u003c/p>\n\u003cp>Other panels depict the Annunciation, Adam and Eve, the Virgin Mary, John the Baptist and a crowned Christ in detail so exacting that you can pick out individual hairs in a beard, or dirt on a pilgrim’s foot.\u003c/p>\n\u003cp>Artist Jan van Eyck completed the Ghent Altarpiece around 1432. Author Noah Charney tells NPR’s Guy Raz that it’s arguably the single most important painting ever made.\u003c/p>\n\u003cp>“It’s the first great oil painting — it influenced oil painting for centuries to come,” Charney says. “It’s the first great panel painting of the Renaissance, a forerunner to artistic realism. The monumentality of it and the complexity of it fascinated people from the moment it was painted.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the size of a barn door, weighs more than an elephant, and is one of the most famous and coveted paintings in the world.\u003c/p>\n\u003cp>It’s the Ghent Altarpiece — also called \u003cem>Adoration of the Mystic Lamb, \u003c/em>after a central panel showing hordes of pilgrims gathered to pay homage to the Lamb of God.\u003c/p>\n\u003cp>Other panels depict the Annunciation, Adam and Eve, the Virgin Mary, John the Baptist and a crowned Christ in detail so exacting that you can pick out individual hairs in a beard, or dirt on a pilgrim’s foot.\u003c/p>\n\u003cp>Artist Jan van Eyck completed the Ghent Altarpiece around 1432. Author Noah Charney tells NPR’s Guy Raz that it’s arguably the single most important painting ever made.\u003c/p>\n\u003cp>“It’s the first great oil painting — it influenced oil painting for centuries to come,” Charney says. “It’s the first great panel painting of the Renaissance, a forerunner to artistic realism. The monumentality of it and the complexity of it fascinated people from the moment it was painted.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Interview with Julio Cesar Morales",
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"content": "\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, is republishing some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_julio_cesar_morales/\">originally published\u003c/a> December 1, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003ci>For this episode,\u003ca href=\"http://badatsports.com/\">Bad at Sports\u003c/a> engages in a roundtable with Julio Cesar Morales about collaboration, curating, pedagogy, and his recent exhibitions. Morales is an artist, educator, and curator who works both individually and collaboratively. He utilizes a range of media including photography, video, and printed and digital media to make conceptual projects that address the productive friction that occurs in trans-cultural territories, such as urban Tijuana and San Francisco, and in inherently impure media, such as popular music and graphic design. This is the second in a series of interviews conducted at Baer Ridgeway as part of Chris Duncan’s recent exhibition \u003cb>Eye Against Eye\u003c/b>.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Brian Andrews: \u003c/b>Julio, you’ve got your hand in a lot of different pots. From making your own work, curating work, producing work, running Queen’s Nails Projects; you’re currently teaching, you’re also curating at Yerba Buena Center for the Arts. So, quite an interesting artistic path that you have taken so far in your career.\u003c/p>\n\u003cp>\u003cb>Julio Cesar Morales:\u003c/b> I think at the core of everything you mentioned, I’m an artist, and everything I do is an extension of an artistic practice for me. So even teaching is a performance. Anyone that teaches knows that. You just perform.\u003c/p>\n\u003cp>I was formally trained as a photographer. A lot of the work that I do, and my core material, is from photographs. I started this project a couple years ago, called \u003cem>Sonido Pirata\u003c/em>, which you probably know the English translation of: Pirated Sounds. It documents the different ways in which people in Mexico sell pirated materials, and how they customized vending carts to play some of the music or DVDs that they sell in the metro or in public spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is this guy in Mexico City where you can get custom made boom boxes that run off of motorcycle batteries and they last for a week. You can basically customize any kind of inputs and outputs you would want. I went with a friend of mine, a collaborator that I work with on audio-based projects, \u003ca href=\"http://www.steveturnercontemporary.com/artists/ore-giron/\">Eamon Ore-Giron\u003c/a>, who used to be here in San Francisco; now he’s in LA. We bought these boom boxes and recorded a series of music based on them. Finally I destroyed mine by making a mold to make these porcelain casts.\u003c/p>\n\u003cp>There’s also a graphic element in the exhibition, which is basically taken from an appropriated Peavey amplifier logo. Everyone, when they customize their carts, has a specific look to them. It’s about appropriation. They appropriated the Peavey logo to sell their products, and I appropriated their logo to create \u003cem>Sonido Pirata\u003c/em>.\u003c/p>\n\u003cp>\u003cb>Kent Baer:\u003c/b> One extension of the project is a record project, which is a mix of original music that you recorded through the boom boxes you purchased.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> A lot of the material that is sold is pirated CDs and DVDs. I should mention that the average Mexican makes about $15 to $16 a day, but it costs the same amount of money to buy a CD and DVD there as it does here, so it doesn’t really make sense to spend your day’s wage to buy one CD or DVD. In a way, I see it as pirating out of necessity, and how people access specific types of music. Since I’ve been working on this project, I have been buying and collecting music, and a lot of it is electronic Cumbia music. Really interesting music that you can find anywhere, as well. I was part of this music DJ collective, \u003ca href=\"http://unicorniorecords.com/\">Club Unicornio\u003c/a>, and we shared music. And by sharing this music, we’ve extended it into a record label that we’ve created with other artists. A lot of the samples and sounds that you hear within the records and the CD compilations included here are based from this source material from the street vendors.\u003c/p>\n\u003cp>\u003cb>Patricia Maloney:\u003c/b> I’m curious to hear how you would differentiate between appropriation and pirating.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> To me it’s the same.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I mention it because you use the terms interchangeably. But the one has the implication of all of this theoretical construct behind it, and the other is basically about illegal activity.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Oh yes, of course. I mean, it’s always an illegal activity, but it’s more like an open market in certain places in the world. If you go to Asia or Latin America, it’s part of daily life. If you can’t afford to do something, you find a different way in which to work it within your life. It’s kind of creating your own economy and, at the same time, having access to these goods — that’s what the street vendors are doing. They’re not waiting for other people to give them a job or to go to school or anything. They have to survive, and so they create their own economy.\u003c/p>\n\u003cp>\u003cb>Duncan MacKenzie:\u003c/b> It occurs to me that appropriation, which we generally think about as a productive force, as a way to take from culture to make new culture, might actually be a workable analog for piracy in the way that you suggest, with the kind of micro-economies that grow up around these sound carts.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> The video that’s included in \u003cem>Sonido Pirata\u003c/em> reflects that, as well.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> It’s part of a larger, ongoing project that I started about street vendors and informal economies in Mexico and its reflection to California. The video started as a series of photographs of street vendors from Tijuana. All the carts and their components explode, expand, and contract, and are placed back together again within the video.\u003c/p>\n\u003cp>What’s interesting about that video is that the vendors get their materials from leftovers from assembly plants. After NAFTA, of course, there were all these assembly plants; you think of any huge corporation, they have an assembly plant in Tijuana. Every Friday they put out discarded materials and these people re-utilize these leftovers to create their carts. I see the carts as these really beautiful assemblage, sculptural pieces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I26_BAS_dfsound.jpg\" alt=\"\">\u003cbr>“Sonido Pirata,” Julio Cesar Morales in collaboration with Andre Eamiello, 2010. Courtesy of the Artists and Baer Ridgway, San Francisco.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> To describe the space of the exhibition, it’s in the downstairs gallery at Baer Ridgway, and all of the things that Julio just described are interspersed within the bookstore area of the gallery. This video is on a small monitor sitting on the shelf, and the casts of the boom boxes are on the floor on the wall opposite. There is this really nice opposition that happens. The pristine quality of these boom boxes, which represent this mass-produced sensibility, as opposed to the extreme of customization, which is just making use of what is at hand and what is available. It becomes cacophonous, visually.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> As an artist, I’m interested in the aesthetic value of certain objects and things. So I like to create an installation in which people can be drawn to the pieces, whether aesthetically or just by the way that they’re laid out, and then consider the deeper issues that are at work. I would like people to appreciate it in both realms.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> The installation suggests a lot of ideas about labor, and identity, and how one informs the other. Appropriation and re-utilization of all of these materials also create a visual marker of the different levels of labor and use that get absorbed into the background. I think about the ways in which your work pushes those layers forward. I’m hoping that we could talk about that, but also in conjunction with how you work collaboratively — the idea that you operate very seamlessly between your own practice as an artist and working in operation with others.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> \u003ca href=\"http://felipedulzaides.com/\">Felipe Dulzaides\u003c/a> is here. We had dinner last night and were talking about how easy it is to collaborate in certain cultures, and how welcoming it is. I come from that background where you don’t have to be an expert in everything, and if you have an idea, you collaborate with someone to see the potential of what you’re interested in creating.\u003c/p>\n\u003cp>I’ve collaborated with architects, sound artists, video artists, food anthropologists, chefs, and so on. To me, it’s just a medium. It’s necessary for me to collaborate.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> How does that operate, then, when you’re teaching? You just described teaching as performance, but you also collaborate with your students. Is that about breaking out of a traditional model?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Definitely. I think that students have to know that there is a life outside of the studio, and that they have to interact within the public space and with public agencies. There’s more chance to further your work when you think outside the studio and think of collaborating with different people.\u003c/p>\n\u003cp>\u003cb>DMK: \u003c/b>That proposes a different kind of sensibility and a different kind of model for young artists, right? Like the dominant arts pedagogy being essentially celebrity-based, the towering individuals who spring forth from the ground rather than built out of a network of resources, which seems to be more accurate.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Especially now, in 2010, after the economic downfall globally, how many artists can work with million dollar budgets and have these huge projects that require a specific amount of funding? One of the projects that I just worked on at Yerba Buena was with a Japanese artist, \u003ca href=\"http://www.kktnk.com/koki_tanaka_works.html\">Koki Tanaka\u003c/a>. The 99¢ store is his goldmine. He creates all these really interesting video and sculptural projects, and he just mines 99¢ stores for that type of material.\u003c/p>\n\u003cp>That’s the reality now. A lot of funding has dried up, but I think artists need to shift and think, “How we can work differently? How can we be more resourceful?” In that sense, when I work with the students, I try to teach them that you have to be resourceful. You have to ask for things. You have to collaborate. You have to write grants and so on.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I like the idea of collaboration as a medium. So I’m curious to hear how it might be applied according to the situation. Do you think about collaborating differently as an artist than you do in your role as curator at Yerba Buena? And when you’re working with artists that are well into their careers?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> This will probably get me in trouble, but I don’t really consider myself a curator. I collaborate with artists to see their vision and to help them create the intent of their projects. I think collaboration does depend on a specific situation.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> But the positions that I just mentioned also have a certain amount of authority attached to them. You know, when you’re operating as an adjunct professor, as an adjunct curator, how do you work past that sense of authority to really empower the people that you’re working with?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I remember when I started Queen’s Nails with \u003ca href=\"http://www.andrewkreps.com/info.html\">Liz Mulholland\u003c/a> and \u003ca href=\"http://laurelgitlen.com/artists/boblinder/main.html\">Bob Linder\u003c/a>, we were interested in having the same dynamic of artist-run spaces that existed in the mid-to-late-90s, which basically disappeared when the dot-com boom happened here.\u003c/p>\n\u003cp>So we just didn’t give a shit and just started working with amazing artists that were interested in working with us and in creating laboratory-based projects. All of a sudden, SFMOMA started to show up, or a curator from Spain would show up, and people cared. It’s almost like that \u003ca href=\"http://s0.ilike.com/play#Morrissey:The+More+You+Ignore+Me%2C+The+Closer+I+Get:44479:s168319.13439784.2000582.0.2.184%2Cstd_221673ea94764b11b0e2602e59e2a862\">Morrissey song\u003c/a>: “The more you ignore me, the closer I get.”\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> At this point, though, you have to recognize that people are really interested in what you have to say. There’s weight attached to that. So how do you navigate that?\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> Do you feel like you have to struggle more to sort of slough off the pressure of the fact that it matters when you’re curating at Yerba Buena?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Well, I’m only there until they fire me is my motto. And it happens a lot that I walk in there and think, “I’m going to get fired today.” The type of programming that I’m doing there is maybe not as radical as other institutions, but according to what historically has been shown there, what I’m doing is a bit different. And I think Ken, the director, is very supportive of that, and that’s what he wanted me to do. And that’s what I’m doing, but of course, you’re dealing with an institution and marketing, and so many different layers and departments. I’m constantly getting into trouble for making things happen!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I26_BAS_Morales_Sonida_record_better.jpg\">\u003cbr>“Sonido Pirata,” Julio Cesar Morales, 2010. Courtesy of the Artist and Baer Ridgway, San Francisco.\u003c/p>\n\u003cp>\u003cb>John Zarobell:\u003c/b> I’m an assistant curator across the street at SFMOMA, and I’ve worked with artists to make things happen, so one of the questions I have for you, when you talk about collaboration and the kinds of projects you’re launching at YBCA — what is the difference for you between being a curator and being a collaborator? In other words, my own understanding of working with an artist is to realize their vision. But I wonder how you would look at the role that you play, and is it always the same depending on the artist or project you’re working on?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> No, it has to change per project. You know, there are so many different approaches that artists have, and from one artist to another, they have specific needs or specific visions of what they want to accomplish. I feel that it’s almost three simultaneous roles. One is an artist, one is a collaborator, and one is a curator. Within the projects, they flip back and forth simultaneously.\u003c/p>\n\u003cp>\u003cb>JZ:\u003c/b> So even in a single project, you feel like you play those different roles at different times.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Yes, it does flip back and forth. You know, when you should say something, when you shouldn’t say something, when you should help navigate, and when to just shut up. It’s about timing, almost like a comedy. You have to know when to say certain things and when not to. And sometimes you just don’t know, quite honestly.\u003c/p>\n\u003cp>I think that’s what I love about what I do — sometimes I’ll just see what happens. For a brief moment, before the car crashes, you might learn something. So I’m doing it because I love the people that I’m working with, but I love the sense that it is furthering myself, not just as an artist, but my interest in art and its extension to audiences.\u003c/p>\n\u003cp>\u003cb>JZ:\u003c/b> I’m fascinated by the way you’re talking about it, because, to be honest, I never thought of myself as a collaborator when I was working on a project like that. But looking back at it through \u003cem>your \u003c/em>experience, bringing Precita Eyes to work with \u003ca href=\"http://www.sfmoma.org/exhibitions/388\">Kerry [James Marshall] \u003c/a>was a decision that I made that had implications for how the project would unfold, even though I saw myself as working with this important artist and facilitating his interaction with this institution. It’s impossible, I suppose, to get away from the decision-making process, which is necessarily part of that role.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I think sometimes when you make that decision, then you just have to live with it, and even if it fails, you have to try and swim away from it. Or try and make something from the ashes. And sometimes you do fail, but I think it’s okay. Maybe it’s not okay for directors or other people keeping a close eye on you.\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> With all these metaphors of car crashes and ashes, it seems that risk is something that delineates curatorial activity from collaborative activity, or wherever this grey area is. And the parts of yourself you’re putting at risk in that moment. Because in all of these relationships, something is at risk, whether it’s part of what the institution mandates or how they want to market themselves, to much more of an interpersonal, creative risk that you have as a collaborator as those things shift.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> Perhaps at any moment in the process, it’s about where your primary allegiance is. Is it to the idea at hand, is it to the exchange of ideas, to the person you’re in collaboration with, or is it, as John was talking about, to the cognizance of the audience and how the audience is going to receive this?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I think a lot of people ask themselves, “What is success, or what is a successful piece, or what are some of the main objectives, and did I meet these objectives?” once they finalize the project. I think it’s touch-and-go throughout the duration, and sometimes the process is a lot more interesting than the outcome.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I think the process is frequently more interesting than the outcome. Exhibitions are interesting only — for me, at least — in terms of the further conversations that they generate.\u003c/p>\n\u003cp>\u003cb>DMK:\u003c/b> I am really curious about your role as pedagogue, and the way that you understand teaching as part of your artistic practice and how that manifests in the classroom. I feel like every one of us who teaches would recognize it as a kind of performative activity. There are those artists who want to latch on and say teaching is part of their practice in a kind of naïve way, and then there are those who are very thoughtful about it. Then there are those that totally resist it, and say they teach because they have to make money. I want to hear you more clearly.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Maybe an example is a class I teach about the influence of punk rock on contemporary art, which goes back to looking at subcultures and urban spaces. There are many different layers to it. I started a pirate radio station at school that really is an examination of artists influenced by audio, or historically have done audio-based projects. The students get to create their own series of radio shows, and it’s like a public intervention. I try to bring something that has many different layers that people can grasp onto, whether it’s the historical part of it or the public intervention.\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> The performative role of you as pedagogue is about sharing your ethos with them and getting them used to functioning through practice. Very directly.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> And when I say perform, you genuinely want to create an excitement about the content that you’re teaching. Like I would never teach art history. Felipe, do you want to mention anything about teaching? We both teach in the New Genres program at SFAI.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> That’s actually a point that I wanted to touch on. Both of you are in the New Genres program at SFAI, which is about incorporating ephemeral and conceptual media. So a school can work very well as a laboratory — for exploration, experimentation, and collaboration. How do you engender your students with a sense of how they can then replicate those practices in an exhibition, working with a curator or an institution, as you’re doing?\u003c/p>\n\u003cp>\u003cb>Felipe Dulzaides:\u003c/b> This is what I try to pass to the students. For me, art always has been a journey. It’s like a process of getting to a place that I didn’t know before. Really looking for the surprise. I got to a place where I didn’t feel I would get to. That is the exciting part, the creative sense. I try to pass to the student that kind of attitude, too. To understand that the idea is not to do something because you know the answers, the idea is to do it because you want to ask questions. Because you want to maybe raise some questions that we don’t know the answers to.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> Is that then, coming out on the other side, being met with those questions, as a curator? Julio, you have a privilege to be able to operate somewhat seamlessly, but not all of your students will have the same opportunity. How do you encourage them to ask the questions, and then how do you also encourage them to operate in this sphere where they’re also supposed to know what they’re doing?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> They get better grades for failing. I’m serious. I’d rather them not see a clean, perfect little project. They’ll get a better grade for really trying and experimenting, and going outside their normal balance. I try to instill this sense of exploration within the classroom — but, at the same time, to seek out people that you want to work with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To hear the full interview, listen to \u003ca href=\"http://badatsports.com/2010/episode-274-julio-cesar-morales/\">Episode 274\u003c/a> on Bad at Sports.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, is republishing some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_julio_cesar_morales/\">originally published\u003c/a> December 1, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003ci>For this episode,\u003ca href=\"http://badatsports.com/\">Bad at Sports\u003c/a> engages in a roundtable with Julio Cesar Morales about collaboration, curating, pedagogy, and his recent exhibitions. Morales is an artist, educator, and curator who works both individually and collaboratively. He utilizes a range of media including photography, video, and printed and digital media to make conceptual projects that address the productive friction that occurs in trans-cultural territories, such as urban Tijuana and San Francisco, and in inherently impure media, such as popular music and graphic design. This is the second in a series of interviews conducted at Baer Ridgeway as part of Chris Duncan’s recent exhibition \u003cb>Eye Against Eye\u003c/b>.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Brian Andrews: \u003c/b>Julio, you’ve got your hand in a lot of different pots. From making your own work, curating work, producing work, running Queen’s Nails Projects; you’re currently teaching, you’re also curating at Yerba Buena Center for the Arts. So, quite an interesting artistic path that you have taken so far in your career.\u003c/p>\n\u003cp>\u003cb>Julio Cesar Morales:\u003c/b> I think at the core of everything you mentioned, I’m an artist, and everything I do is an extension of an artistic practice for me. So even teaching is a performance. Anyone that teaches knows that. You just perform.\u003c/p>\n\u003cp>I was formally trained as a photographer. A lot of the work that I do, and my core material, is from photographs. I started this project a couple years ago, called \u003cem>Sonido Pirata\u003c/em>, which you probably know the English translation of: Pirated Sounds. It documents the different ways in which people in Mexico sell pirated materials, and how they customized vending carts to play some of the music or DVDs that they sell in the metro or in public spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is this guy in Mexico City where you can get custom made boom boxes that run off of motorcycle batteries and they last for a week. You can basically customize any kind of inputs and outputs you would want. I went with a friend of mine, a collaborator that I work with on audio-based projects, \u003ca href=\"http://www.steveturnercontemporary.com/artists/ore-giron/\">Eamon Ore-Giron\u003c/a>, who used to be here in San Francisco; now he’s in LA. We bought these boom boxes and recorded a series of music based on them. Finally I destroyed mine by making a mold to make these porcelain casts.\u003c/p>\n\u003cp>There’s also a graphic element in the exhibition, which is basically taken from an appropriated Peavey amplifier logo. Everyone, when they customize their carts, has a specific look to them. It’s about appropriation. They appropriated the Peavey logo to sell their products, and I appropriated their logo to create \u003cem>Sonido Pirata\u003c/em>.\u003c/p>\n\u003cp>\u003cb>Kent Baer:\u003c/b> One extension of the project is a record project, which is a mix of original music that you recorded through the boom boxes you purchased.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> A lot of the material that is sold is pirated CDs and DVDs. I should mention that the average Mexican makes about $15 to $16 a day, but it costs the same amount of money to buy a CD and DVD there as it does here, so it doesn’t really make sense to spend your day’s wage to buy one CD or DVD. In a way, I see it as pirating out of necessity, and how people access specific types of music. Since I’ve been working on this project, I have been buying and collecting music, and a lot of it is electronic Cumbia music. Really interesting music that you can find anywhere, as well. I was part of this music DJ collective, \u003ca href=\"http://unicorniorecords.com/\">Club Unicornio\u003c/a>, and we shared music. And by sharing this music, we’ve extended it into a record label that we’ve created with other artists. A lot of the samples and sounds that you hear within the records and the CD compilations included here are based from this source material from the street vendors.\u003c/p>\n\u003cp>\u003cb>Patricia Maloney:\u003c/b> I’m curious to hear how you would differentiate between appropriation and pirating.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> To me it’s the same.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I mention it because you use the terms interchangeably. But the one has the implication of all of this theoretical construct behind it, and the other is basically about illegal activity.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Oh yes, of course. I mean, it’s always an illegal activity, but it’s more like an open market in certain places in the world. If you go to Asia or Latin America, it’s part of daily life. If you can’t afford to do something, you find a different way in which to work it within your life. It’s kind of creating your own economy and, at the same time, having access to these goods — that’s what the street vendors are doing. They’re not waiting for other people to give them a job or to go to school or anything. They have to survive, and so they create their own economy.\u003c/p>\n\u003cp>\u003cb>Duncan MacKenzie:\u003c/b> It occurs to me that appropriation, which we generally think about as a productive force, as a way to take from culture to make new culture, might actually be a workable analog for piracy in the way that you suggest, with the kind of micro-economies that grow up around these sound carts.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> The video that’s included in \u003cem>Sonido Pirata\u003c/em> reflects that, as well.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> It’s part of a larger, ongoing project that I started about street vendors and informal economies in Mexico and its reflection to California. The video started as a series of photographs of street vendors from Tijuana. All the carts and their components explode, expand, and contract, and are placed back together again within the video.\u003c/p>\n\u003cp>What’s interesting about that video is that the vendors get their materials from leftovers from assembly plants. After NAFTA, of course, there were all these assembly plants; you think of any huge corporation, they have an assembly plant in Tijuana. Every Friday they put out discarded materials and these people re-utilize these leftovers to create their carts. I see the carts as these really beautiful assemblage, sculptural pieces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I26_BAS_dfsound.jpg\" alt=\"\">\u003cbr>“Sonido Pirata,” Julio Cesar Morales in collaboration with Andre Eamiello, 2010. Courtesy of the Artists and Baer Ridgway, San Francisco.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> To describe the space of the exhibition, it’s in the downstairs gallery at Baer Ridgway, and all of the things that Julio just described are interspersed within the bookstore area of the gallery. This video is on a small monitor sitting on the shelf, and the casts of the boom boxes are on the floor on the wall opposite. There is this really nice opposition that happens. The pristine quality of these boom boxes, which represent this mass-produced sensibility, as opposed to the extreme of customization, which is just making use of what is at hand and what is available. It becomes cacophonous, visually.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> As an artist, I’m interested in the aesthetic value of certain objects and things. So I like to create an installation in which people can be drawn to the pieces, whether aesthetically or just by the way that they’re laid out, and then consider the deeper issues that are at work. I would like people to appreciate it in both realms.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> The installation suggests a lot of ideas about labor, and identity, and how one informs the other. Appropriation and re-utilization of all of these materials also create a visual marker of the different levels of labor and use that get absorbed into the background. I think about the ways in which your work pushes those layers forward. I’m hoping that we could talk about that, but also in conjunction with how you work collaboratively — the idea that you operate very seamlessly between your own practice as an artist and working in operation with others.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> \u003ca href=\"http://felipedulzaides.com/\">Felipe Dulzaides\u003c/a> is here. We had dinner last night and were talking about how easy it is to collaborate in certain cultures, and how welcoming it is. I come from that background where you don’t have to be an expert in everything, and if you have an idea, you collaborate with someone to see the potential of what you’re interested in creating.\u003c/p>\n\u003cp>I’ve collaborated with architects, sound artists, video artists, food anthropologists, chefs, and so on. To me, it’s just a medium. It’s necessary for me to collaborate.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> How does that operate, then, when you’re teaching? You just described teaching as performance, but you also collaborate with your students. Is that about breaking out of a traditional model?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Definitely. I think that students have to know that there is a life outside of the studio, and that they have to interact within the public space and with public agencies. There’s more chance to further your work when you think outside the studio and think of collaborating with different people.\u003c/p>\n\u003cp>\u003cb>DMK: \u003c/b>That proposes a different kind of sensibility and a different kind of model for young artists, right? Like the dominant arts pedagogy being essentially celebrity-based, the towering individuals who spring forth from the ground rather than built out of a network of resources, which seems to be more accurate.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Especially now, in 2010, after the economic downfall globally, how many artists can work with million dollar budgets and have these huge projects that require a specific amount of funding? One of the projects that I just worked on at Yerba Buena was with a Japanese artist, \u003ca href=\"http://www.kktnk.com/koki_tanaka_works.html\">Koki Tanaka\u003c/a>. The 99¢ store is his goldmine. He creates all these really interesting video and sculptural projects, and he just mines 99¢ stores for that type of material.\u003c/p>\n\u003cp>That’s the reality now. A lot of funding has dried up, but I think artists need to shift and think, “How we can work differently? How can we be more resourceful?” In that sense, when I work with the students, I try to teach them that you have to be resourceful. You have to ask for things. You have to collaborate. You have to write grants and so on.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I like the idea of collaboration as a medium. So I’m curious to hear how it might be applied according to the situation. Do you think about collaborating differently as an artist than you do in your role as curator at Yerba Buena? And when you’re working with artists that are well into their careers?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> This will probably get me in trouble, but I don’t really consider myself a curator. I collaborate with artists to see their vision and to help them create the intent of their projects. I think collaboration does depend on a specific situation.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> But the positions that I just mentioned also have a certain amount of authority attached to them. You know, when you’re operating as an adjunct professor, as an adjunct curator, how do you work past that sense of authority to really empower the people that you’re working with?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I remember when I started Queen’s Nails with \u003ca href=\"http://www.andrewkreps.com/info.html\">Liz Mulholland\u003c/a> and \u003ca href=\"http://laurelgitlen.com/artists/boblinder/main.html\">Bob Linder\u003c/a>, we were interested in having the same dynamic of artist-run spaces that existed in the mid-to-late-90s, which basically disappeared when the dot-com boom happened here.\u003c/p>\n\u003cp>So we just didn’t give a shit and just started working with amazing artists that were interested in working with us and in creating laboratory-based projects. All of a sudden, SFMOMA started to show up, or a curator from Spain would show up, and people cared. It’s almost like that \u003ca href=\"http://s0.ilike.com/play#Morrissey:The+More+You+Ignore+Me%2C+The+Closer+I+Get:44479:s168319.13439784.2000582.0.2.184%2Cstd_221673ea94764b11b0e2602e59e2a862\">Morrissey song\u003c/a>: “The more you ignore me, the closer I get.”\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> At this point, though, you have to recognize that people are really interested in what you have to say. There’s weight attached to that. So how do you navigate that?\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> Do you feel like you have to struggle more to sort of slough off the pressure of the fact that it matters when you’re curating at Yerba Buena?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Well, I’m only there until they fire me is my motto. And it happens a lot that I walk in there and think, “I’m going to get fired today.” The type of programming that I’m doing there is maybe not as radical as other institutions, but according to what historically has been shown there, what I’m doing is a bit different. And I think Ken, the director, is very supportive of that, and that’s what he wanted me to do. And that’s what I’m doing, but of course, you’re dealing with an institution and marketing, and so many different layers and departments. I’m constantly getting into trouble for making things happen!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I26_BAS_Morales_Sonida_record_better.jpg\">\u003cbr>“Sonido Pirata,” Julio Cesar Morales, 2010. Courtesy of the Artist and Baer Ridgway, San Francisco.\u003c/p>\n\u003cp>\u003cb>John Zarobell:\u003c/b> I’m an assistant curator across the street at SFMOMA, and I’ve worked with artists to make things happen, so one of the questions I have for you, when you talk about collaboration and the kinds of projects you’re launching at YBCA — what is the difference for you between being a curator and being a collaborator? In other words, my own understanding of working with an artist is to realize their vision. But I wonder how you would look at the role that you play, and is it always the same depending on the artist or project you’re working on?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> No, it has to change per project. You know, there are so many different approaches that artists have, and from one artist to another, they have specific needs or specific visions of what they want to accomplish. I feel that it’s almost three simultaneous roles. One is an artist, one is a collaborator, and one is a curator. Within the projects, they flip back and forth simultaneously.\u003c/p>\n\u003cp>\u003cb>JZ:\u003c/b> So even in a single project, you feel like you play those different roles at different times.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Yes, it does flip back and forth. You know, when you should say something, when you shouldn’t say something, when you should help navigate, and when to just shut up. It’s about timing, almost like a comedy. You have to know when to say certain things and when not to. And sometimes you just don’t know, quite honestly.\u003c/p>\n\u003cp>I think that’s what I love about what I do — sometimes I’ll just see what happens. For a brief moment, before the car crashes, you might learn something. So I’m doing it because I love the people that I’m working with, but I love the sense that it is furthering myself, not just as an artist, but my interest in art and its extension to audiences.\u003c/p>\n\u003cp>\u003cb>JZ:\u003c/b> I’m fascinated by the way you’re talking about it, because, to be honest, I never thought of myself as a collaborator when I was working on a project like that. But looking back at it through \u003cem>your \u003c/em>experience, bringing Precita Eyes to work with \u003ca href=\"http://www.sfmoma.org/exhibitions/388\">Kerry [James Marshall] \u003c/a>was a decision that I made that had implications for how the project would unfold, even though I saw myself as working with this important artist and facilitating his interaction with this institution. It’s impossible, I suppose, to get away from the decision-making process, which is necessarily part of that role.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I think sometimes when you make that decision, then you just have to live with it, and even if it fails, you have to try and swim away from it. Or try and make something from the ashes. And sometimes you do fail, but I think it’s okay. Maybe it’s not okay for directors or other people keeping a close eye on you.\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> With all these metaphors of car crashes and ashes, it seems that risk is something that delineates curatorial activity from collaborative activity, or wherever this grey area is. And the parts of yourself you’re putting at risk in that moment. Because in all of these relationships, something is at risk, whether it’s part of what the institution mandates or how they want to market themselves, to much more of an interpersonal, creative risk that you have as a collaborator as those things shift.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> Perhaps at any moment in the process, it’s about where your primary allegiance is. Is it to the idea at hand, is it to the exchange of ideas, to the person you’re in collaboration with, or is it, as John was talking about, to the cognizance of the audience and how the audience is going to receive this?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> I think a lot of people ask themselves, “What is success, or what is a successful piece, or what are some of the main objectives, and did I meet these objectives?” once they finalize the project. I think it’s touch-and-go throughout the duration, and sometimes the process is a lot more interesting than the outcome.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> I think the process is frequently more interesting than the outcome. Exhibitions are interesting only — for me, at least — in terms of the further conversations that they generate.\u003c/p>\n\u003cp>\u003cb>DMK:\u003c/b> I am really curious about your role as pedagogue, and the way that you understand teaching as part of your artistic practice and how that manifests in the classroom. I feel like every one of us who teaches would recognize it as a kind of performative activity. There are those artists who want to latch on and say teaching is part of their practice in a kind of naïve way, and then there are those who are very thoughtful about it. Then there are those that totally resist it, and say they teach because they have to make money. I want to hear you more clearly.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> Maybe an example is a class I teach about the influence of punk rock on contemporary art, which goes back to looking at subcultures and urban spaces. There are many different layers to it. I started a pirate radio station at school that really is an examination of artists influenced by audio, or historically have done audio-based projects. The students get to create their own series of radio shows, and it’s like a public intervention. I try to bring something that has many different layers that people can grasp onto, whether it’s the historical part of it or the public intervention.\u003c/p>\n\u003cp>\u003cb>BA:\u003c/b> The performative role of you as pedagogue is about sharing your ethos with them and getting them used to functioning through practice. Very directly.\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> And when I say perform, you genuinely want to create an excitement about the content that you’re teaching. Like I would never teach art history. Felipe, do you want to mention anything about teaching? We both teach in the New Genres program at SFAI.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> That’s actually a point that I wanted to touch on. Both of you are in the New Genres program at SFAI, which is about incorporating ephemeral and conceptual media. So a school can work very well as a laboratory — for exploration, experimentation, and collaboration. How do you engender your students with a sense of how they can then replicate those practices in an exhibition, working with a curator or an institution, as you’re doing?\u003c/p>\n\u003cp>\u003cb>Felipe Dulzaides:\u003c/b> This is what I try to pass to the students. For me, art always has been a journey. It’s like a process of getting to a place that I didn’t know before. Really looking for the surprise. I got to a place where I didn’t feel I would get to. That is the exciting part, the creative sense. I try to pass to the student that kind of attitude, too. To understand that the idea is not to do something because you know the answers, the idea is to do it because you want to ask questions. Because you want to maybe raise some questions that we don’t know the answers to.\u003c/p>\n\u003cp>\u003cb>PM:\u003c/b> Is that then, coming out on the other side, being met with those questions, as a curator? Julio, you have a privilege to be able to operate somewhat seamlessly, but not all of your students will have the same opportunity. How do you encourage them to ask the questions, and then how do you also encourage them to operate in this sphere where they’re also supposed to know what they’re doing?\u003c/p>\n\u003cp>\u003cb>JCM:\u003c/b> They get better grades for failing. I’m serious. I’d rather them not see a clean, perfect little project. They’ll get a better grade for really trying and experimenting, and going outside their normal balance. I try to instill this sense of exploration within the classroom — but, at the same time, to seek out people that you want to work with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Josh Faught’s work has been seen in New York galleries, the Seattle Art Museum, and even on Grizzly Bear album covers, and now he’s about to conquer San Francisco. In his studio above an antique prop shop, he creates traditionally crafted textile pieces interwoven with contemporary, domestic materials including nail polish, toilet paper, and potpourri. In that way, he cannot be pigeonholed as strictly a fiber artist. He’s worked in other mediums including photography, and feels that his practice has just as much to do with textile history as it does with sculptural history. We caught up with him at his studio and discussed self-help books, domestic dysfunction, and his summer camp influences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-24.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>You were teaching at the University of Oregon for the last few years. What brought you to San Francisco?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Josh Faught:\u003c/b> “I got a full-time job teaching at CCA. It’s been amazing working in the textiles program. The Bay Area, and particularly CCA, has a rich history surrounding crafts and textiles. There’s a lineage and legacy of which it’s exciting to play a part. On a conceptual level, there’s a relationship between the nostalgia of craft and the nostalgia of the gay community that’s waxing or waning, depending on how you think about it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Is fiber your preferred medium, or is it the material that happens to best fit your content?\u003c/i>\u003c/p>\n\u003cp>“I would say it’s the medium that fits my content best because that’s how I got to textiles in the first place, but I think textiles have suited my content for a really long time. I studied art history and English in college, and it wasn’t until after I left school that I started thinking about textiles as a viable material to produce artwork in. In order to do that, I had to channel the summer camp spirit and think about what it means to use those materials in the first place. I started working for \u003ci>Nest Magazine\u003c/i>, which no longer exists. It was a conceptual interiors magazine that was profoundly inspirational. I studied at the Fashion Institute of Technology for a little while because I thought I would do textile design, but I ended up going to grad school at The Art Institute of Chicago. I began doing research about highly politicized textiles from the ’60s and ’70s, and thinking about the fiber works that were being produced in the Bay Area. There was this heyday during the queer liberation and feminist movements that was being parlayed through the materials of textiles. So they became synonymous forces in a way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-10.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you grow up around crafters?\u003c/i>\u003c/p>\n\u003cp>“I have a grandmother who is a big knitter and my great grandmother crocheted, but I learned most of my craft skills from summer camp. I learned how to weave before I learned how to draw.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-15.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some of the most common themes in your work?\u003c/i>\u003c/p>\n\u003cp>“Support is one of them, or a lack of support — historical fantasy, suburban menaces, or depression in some way. Indigo has become a part of it, so maybe textile history, if that can be considered a theme. And domestic dysfunction — a lot of artists are interested in domesticity but, for me, it’s a magical space where things can be equally disarming and dysfunctional. The emergence of a new identity can happen. It can be celebratory and liberating at the same time.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-18.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your self-help references. Some of your earlier pieces had actual self-help books and flyers woven into them.\u003c/i>\u003c/p>\n\u003cp>“I’m always interested in support systems whether there’s a physical support, like a trellis, or a newsletter as a support, or a book as a support. I don’t want to be over-the-top literal with the supports, but I like the idea of them bouncing off each other. Sometimes it’s structural or physical, and sometimes it’s just embedded in the work. “\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-19.jpg\">\u003c/p>\n\u003cp>“I lived in Eugene, Oregon where there’s a culture that’s fascinated with self-help. A lot of anarchists live there and other people who want to disconnect. So there are a lot of bulletin boards with flyers advertising self-help things, and that’s how it became a part of my work when I lived there. Now I’m trying to think about issues of support in different ways.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-4.jpg\">\u003c/p>\n\u003cp>\u003ci>You mix traditional methods with contemporary elements and finishing. What do you like about that juxtaposition?\u003c/i>\u003c/p>\n\u003cp>“I often use a more raw or expressive finishing, but at the same time I’ve been working with these materials long enough to know at what point it’s going to fall apart. It isn’t so much about being ephemeral as it is about being expressive and quoting the vernacular of earlier textile forms that I’ve been fascinated with. Like Annie Albers said, we should let threads be articulate and not be things that we merely walk on for utilitarian purposes. I want things to be playful and lively and to have a kind of psychic energy to them in some ways, so I move back and forth in terms of how I work on them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-28.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-29.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>“I think my work would exist alongside a soundtrack inspired by Diana Ross and The Indigo Girls.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-27.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Josh Faught’s work is included in a soon-to-be-released anthology, \u003ca href=\"http://www.mariabuszek.com/extraordinarybook/index.htm\">Extraordinary: Craft and Contemporary Art\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Josh Faught's work has been seen in New York galleries, the Seattle Art Museum, and even on Grizzly Bear album covers, and now he's about to conquer San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Josh Faught’s work has been seen in New York galleries, the Seattle Art Museum, and even on Grizzly Bear album covers, and now he’s about to conquer San Francisco. In his studio above an antique prop shop, he creates traditionally crafted textile pieces interwoven with contemporary, domestic materials including nail polish, toilet paper, and potpourri. In that way, he cannot be pigeonholed as strictly a fiber artist. He’s worked in other mediums including photography, and feels that his practice has just as much to do with textile history as it does with sculptural history. We caught up with him at his studio and discussed self-help books, domestic dysfunction, and his summer camp influences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-24.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>You were teaching at the University of Oregon for the last few years. What brought you to San Francisco?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Josh Faught:\u003c/b> “I got a full-time job teaching at CCA. It’s been amazing working in the textiles program. The Bay Area, and particularly CCA, has a rich history surrounding crafts and textiles. There’s a lineage and legacy of which it’s exciting to play a part. On a conceptual level, there’s a relationship between the nostalgia of craft and the nostalgia of the gay community that’s waxing or waning, depending on how you think about it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-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>Is fiber your preferred medium, or is it the material that happens to best fit your content?\u003c/i>\u003c/p>\n\u003cp>“I would say it’s the medium that fits my content best because that’s how I got to textiles in the first place, but I think textiles have suited my content for a really long time. I studied art history and English in college, and it wasn’t until after I left school that I started thinking about textiles as a viable material to produce artwork in. In order to do that, I had to channel the summer camp spirit and think about what it means to use those materials in the first place. I started working for \u003ci>Nest Magazine\u003c/i>, which no longer exists. It was a conceptual interiors magazine that was profoundly inspirational. I studied at the Fashion Institute of Technology for a little while because I thought I would do textile design, but I ended up going to grad school at The Art Institute of Chicago. I began doing research about highly politicized textiles from the ’60s and ’70s, and thinking about the fiber works that were being produced in the Bay Area. There was this heyday during the queer liberation and feminist movements that was being parlayed through the materials of textiles. So they became synonymous forces in a way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-10.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you grow up around crafters?\u003c/i>\u003c/p>\n\u003cp>“I have a grandmother who is a big knitter and my great grandmother crocheted, but I learned most of my craft skills from summer camp. I learned how to weave before I learned how to draw.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-15.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some of the most common themes in your work?\u003c/i>\u003c/p>\n\u003cp>“Support is one of them, or a lack of support — historical fantasy, suburban menaces, or depression in some way. Indigo has become a part of it, so maybe textile history, if that can be considered a theme. And domestic dysfunction — a lot of artists are interested in domesticity but, for me, it’s a magical space where things can be equally disarming and dysfunctional. The emergence of a new identity can happen. It can be celebratory and liberating at the same time.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-18.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your self-help references. Some of your earlier pieces had actual self-help books and flyers woven into them.\u003c/i>\u003c/p>\n\u003cp>“I’m always interested in support systems whether there’s a physical support, like a trellis, or a newsletter as a support, or a book as a support. I don’t want to be over-the-top literal with the supports, but I like the idea of them bouncing off each other. Sometimes it’s structural or physical, and sometimes it’s just embedded in the work. “\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-19.jpg\">\u003c/p>\n\u003cp>“I lived in Eugene, Oregon where there’s a culture that’s fascinated with self-help. A lot of anarchists live there and other people who want to disconnect. So there are a lot of bulletin boards with flyers advertising self-help things, and that’s how it became a part of my work when I lived there. Now I’m trying to think about issues of support in different ways.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-4.jpg\">\u003c/p>\n\u003cp>\u003ci>You mix traditional methods with contemporary elements and finishing. What do you like about that juxtaposition?\u003c/i>\u003c/p>\n\u003cp>“I often use a more raw or expressive finishing, but at the same time I’ve been working with these materials long enough to know at what point it’s going to fall apart. It isn’t so much about being ephemeral as it is about being expressive and quoting the vernacular of earlier textile forms that I’ve been fascinated with. Like Annie Albers said, we should let threads be articulate and not be things that we merely walk on for utilitarian purposes. I want things to be playful and lively and to have a kind of psychic energy to them in some ways, so I move back and forth in terms of how I work on them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-28.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-29.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>“I think my work would exist alongside a soundtrack inspired by Diana Ross and The Indigo Girls.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faught-27.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Josh Faught’s work is included in a soon-to-be-released anthology, \u003ca href=\"http://www.mariabuszek.com/extraordinarybook/index.htm\">Extraordinary: Craft and Contemporary Art\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When visiting a blockbuster art exhibition, it’s not unusual to inevitably exit through a gift shop featuring mugs and junk commercially printed with the art you’ve just seen. A new pop-up store at SFMOMA, however, isn’t your average museum shop. It’s a \u003cb>Shadowshop\u003c/b> dreamed up by local artist \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=22692/\">Stephanie Syjuco\u003c/a> and it sells handmade inventory created by a large, \u003ca href=\"http://stephaniesyjuco.com/shadowshop/artistlist.html/\">hand-selected group of Bay Area artists\u003c/a>. The shop is not tied directly to any of the museum’s current exhibitions. It is an art piece in itself. It’s a DIY revolution where artists keep 100% of their profits; this novel idea has finally made it to the top (literally, the top floor of the museum).\u003c/p>\n\u003cp>If you’re a fan of local art, \u003cb>Shadowshop\u003c/b> is the candy store of your dreams, especially if you’re not an independently wealthy collector. The shop offers limited edition objects mostly priced under $100, which is a sweet deal for any quality, handmade thing you find yourself attracted to. You may not be able to fit \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=5983/\">Liz Hickok\u003c/a>‘s expansive San Francisco cityscape made of Jell-o in your living room, but you can certainly spare a spot for her jiggly, stand-alone rendition of SFMOMA (a museum souvenir more interesting than a tote bag). \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=6182/\">Michael Arcega\u003c/a>‘s sculptures with word play titles may not be easy to get your hands on, but \u003cb>Shadowshop\u003c/b> offers a letterpress card made by the artist that reads, “To be ambidextrous, I’d give my right arm!” Cards are aplenty in the shop, there’s even a set made specifically for artists to express gratitude to their gallerists, collectors and critics (e.g., “Thanks for the nice review!”) Other kind-hearted objects include \u003ca href=\"http://susanomalley.org/\">Susan O’Malley\u003c/a>‘s affirmational $1 buttons, which gently remind you to “Listen to your heart,” and that, “You are exactly where you need to be.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop-bottles.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Many artists featured in \u003cb>Shadowshop\u003c/b> could be labeled as conceptual. Most attended CCA or other local MFA programs like the one at Mills College, where \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/episode.jsp?essid=24728/\">Gallery Crawl\u003c/a> met Annie Vought in 2009. Vought creates cut paper text pieces of impressive size, thereby elevating long lost anonymous letters and messages. For \u003cb>Shadowshop\u003c/b>, she carefully forged famous artists’ signatures (Chagall, Van Gogh, and Rivera among them) in colored paper, pinning the cut-out letters perfectly inside plexi-glass boxes like precious butterflies, a fitting home for her delicate work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop-vought.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>If you’re curious about an historical influence on some of the \u003cb>Shadowshop\u003c/b> artists, the “I Heart Beuys” t-shirt is a dead giveaway and would make a great gift for the art lover on your holiday shopping list. Trying to impress a new man or lady friend? Why not give them a non-functional ceramic padlock by Rebecca Bollinger to represent your loyalty? Or a card by Libby Black picturing a bottle of Chanel No. 5 and the compliment, “Damn, You Smell Good.” For the librarians in your life, there are art books by Hank Willis Thomas, Brion Nuda Rosch, Heather Smith, and Tucker Nichols, and copies of locally founded \u003ca href=\"http://colorandcolor.blogspot.com//\">Color & Color Magazine\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop-hirst.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Shadowshop encourages holiday shoppers to help keep corporate America in the red this holiday season. Wherever you shop, you should buy local, and buy handmade. And Santa, if you’re out there, Byung Joon Shin’s miniature replicas of Damien Hirst’s animal-in-formaldehyde sculptures (\u003cb>Damien Hirst To-Go\u003c/b>) are number one on my list.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shadowshop\u003c/b> at SFMOMA is open for business through April 28, 2011.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When visiting a blockbuster art exhibition, it’s not unusual to inevitably exit through a gift shop featuring mugs and junk commercially printed with the art you’ve just seen. A new pop-up store at SFMOMA, however, isn’t your average museum shop. It’s a \u003cb>Shadowshop\u003c/b> dreamed up by local artist \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=22692/\">Stephanie Syjuco\u003c/a> and it sells handmade inventory created by a large, \u003ca href=\"http://stephaniesyjuco.com/shadowshop/artistlist.html/\">hand-selected group of Bay Area artists\u003c/a>. The shop is not tied directly to any of the museum’s current exhibitions. It is an art piece in itself. It’s a DIY revolution where artists keep 100% of their profits; this novel idea has finally made it to the top (literally, the top floor of the museum).\u003c/p>\n\u003cp>If you’re a fan of local art, \u003cb>Shadowshop\u003c/b> is the candy store of your dreams, especially if you’re not an independently wealthy collector. The shop offers limited edition objects mostly priced under $100, which is a sweet deal for any quality, handmade thing you find yourself attracted to. You may not be able to fit \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=5983/\">Liz Hickok\u003c/a>‘s expansive San Francisco cityscape made of Jell-o in your living room, but you can certainly spare a spot for her jiggly, stand-alone rendition of SFMOMA (a museum souvenir more interesting than a tote bag). \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=6182/\">Michael Arcega\u003c/a>‘s sculptures with word play titles may not be easy to get your hands on, but \u003cb>Shadowshop\u003c/b> offers a letterpress card made by the artist that reads, “To be ambidextrous, I’d give my right arm!” Cards are aplenty in the shop, there’s even a set made specifically for artists to express gratitude to their gallerists, collectors and critics (e.g., “Thanks for the nice review!”) Other kind-hearted objects include \u003ca href=\"http://susanomalley.org/\">Susan O’Malley\u003c/a>‘s affirmational $1 buttons, which gently remind you to “Listen to your heart,” and that, “You are exactly where you need to be.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop-bottles.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Many artists featured in \u003cb>Shadowshop\u003c/b> could be labeled as conceptual. Most attended CCA or other local MFA programs like the one at Mills College, where \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/episode.jsp?essid=24728/\">Gallery Crawl\u003c/a> met Annie Vought in 2009. Vought creates cut paper text pieces of impressive size, thereby elevating long lost anonymous letters and messages. For \u003cb>Shadowshop\u003c/b>, she carefully forged famous artists’ signatures (Chagall, Van Gogh, and Rivera among them) in colored paper, pinning the cut-out letters perfectly inside plexi-glass boxes like precious butterflies, a fitting home for her delicate work.\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/shadowshop-vought.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>If you’re curious about an historical influence on some of the \u003cb>Shadowshop\u003c/b> artists, the “I Heart Beuys” t-shirt is a dead giveaway and would make a great gift for the art lover on your holiday shopping list. Trying to impress a new man or lady friend? Why not give them a non-functional ceramic padlock by Rebecca Bollinger to represent your loyalty? Or a card by Libby Black picturing a bottle of Chanel No. 5 and the compliment, “Damn, You Smell Good.” For the librarians in your life, there are art books by Hank Willis Thomas, Brion Nuda Rosch, Heather Smith, and Tucker Nichols, and copies of locally founded \u003ca href=\"http://colorandcolor.blogspot.com//\">Color & Color Magazine\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shadowshop-hirst.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Shadowshop encourages holiday shoppers to help keep corporate America in the red this holiday season. Wherever you shop, you should buy local, and buy handmade. And Santa, if you’re out there, Byung Joon Shin’s miniature replicas of Damien Hirst’s animal-in-formaldehyde sculptures (\u003cb>Damien Hirst To-Go\u003c/b>) are number one on my list.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shadowshop\u003c/b> at SFMOMA is open for business through April 28, 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Daily Serving: Exposed: Interview with Sandra Phillips",
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"content": "\u003cp>\u003ci>This interview was \u003ca href=\"http://dailyserving.com/2010/12/exposed-interview-with-sandra-phillips/\">originally published\u003c/a> on December 2, 2010 by Daily Serving, an international forum for visual artists.\u003c/i>\u003c/p>\n\u003cp>With a broad mix of photographs from both unknown shutterbugs and internationally recognized artists, \u003cb>Exposed: Voyeurism, Surveillance, and the Camera Since 1870\u003c/b> at SFMOMA examines the images of a culture existing in an uneasy relationship to the camera. The exhibition probes our social connection to surveillance, pornography, and physical and emotional violence. Last week, Daily Serving’s \u003ca href=\"http://dailyserving.com/author/bean-gilsdorf/\">Bean Gilsdorf\u003c/a> sat down with Senior Curator of Photography Sandra Phillips, who talked about her ideas for the exhibition and her connection to some of the photographs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed-goldin.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Nan Goldin, Nan and Brian in bed, New York City, 1983; c. Nan Goldin, courtesy Matthew Marks Gallery.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>Bean Gilsdorf\u003c/strong>: \u003cb>Exposed\u003c/b> was ten years in the making. How and why did it begin?\u003c/p>\n\u003cp>\u003cstrong>Sandra Phillips\u003c/strong>: I did a show called \u003cb>\u003ca href=\"http://www.amazon.com/Police-Pictures-Sandra-S-Phillips/dp/0811819841\">Police Pictures: The Photograph as Evidence\u003c/a>\u003c/b> about twelve years ago because I was very interested in the fact that we ascribe a certain amount of authority to photographs as impartial truth-telling documents. But they can be extremely ambiguous. And it occurred to me that there was another aspect that was about making pictures without people knowing that they were being photographed. There are, in fact, some spy pictures in this show. So that’s how I started.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: Did your organization of this show start with any particular pieces? Or was it just a general concept?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It started as an idea, and the beginning of it was looking at the work of Edgar Degas, believe it or not! He was very interested in photography and he made a lot of photographs. He made pictures of his models that he arranged, but they were presented as though they were spied on. I thought that was completely fascinating — why would someone as important as he be interested in the use of photography as a spying medium? It had to do with his own personal aesthetic, but once you get started in that, then you realize how amazingly broad this topic is.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed-winogrand.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Garry Winogrand, New York, 1969; c. Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>SP\u003c/strong>: I also looked at the work of \u003ca href=\"http://en.wikipedia.org/wiki/Helen_Levitt\">Helen Levitt\u003c/a>, and she was interested in making pictures of people who didn’t realize that they were being photographed. So all of a sudden, this idea expanded: how do you explain street photography without actually dealing with the surveillance aspect of it? And then it became a very big subject: it wasn’t only street photography, it’s the ways we look at sex, the ways we understand important people, and then this weird territory where people like celebrities are being \u003cem>aggressively\u003c/em> looked at. What does that mean to us as a culture? Where does this come from? Examining the interest that we have in violence is a necessary part of modern life. And the contemporary photographs are all about surveillance, obviously.\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: Do you think there’s any correspondence between the gesture of taking a photograph of someone who is not looking, and staging a photograph to appear as though someone is not looking?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: …Oh, yeah…\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: I’m thinking of all the Facebook photos — those self-portraits — where people specifically look away from the camera as though they had been caught unawares. What do you think is behind that?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It’s an affect, that we want to be photographed as though it’s real, but it’s actually not real. I think this is the big issue now in photography, whether it’s staged or isn’t staged. It comes back to the idea of photography being a medium of truth telling. It’s a very interesting medium; it seems absolutely clear and yet is so mysterious.\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: I find it interesting that this exhibition came from England, where \u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/6108496.stm\">surveillance culture\u003c/a> is just outrageous. Do you know what the reaction was, over there?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It was tremendously interesting to the English for that very reason. The Tate is a much more public institution than almost any other institution in the world, it has millions of visitors a year. And I can’t remember how many millions of people came to see the show, but it was huge, there was a lot of discussion about it. There was another show about surveillance [\u003cb>Rhetorics of Surveillance: from Bentham to Big Brother\u003c/b> at \u003ca href=\"http://on1.zkm.de/zkm/e/\">ZKM Center for Art and Media\u003c/a> in Karlsruhe] about ten years ago in Germany and it was very theoretical.But in England they have the whole craze, really, for outfitting public spaces with surveillance cameras. There was a child in Scotland who was abducted and killed by two older kids, and that’s what started it all. It was before the al Qaida bombings, it was before all of that. It wasn’t political; the idea was purely to save children’s lives, that’s where it started.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Tazio Secchiaroli, “Anita Ekberg and Husband Anthony Steel, Vecchia Roma,” 1958.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>BG\u003c/strong>: Which is different from what’s happening right now. On one hand we want to have our personal privacy — when we dictate it! — but on the other hand we want to look as though we’ve been caught on camera in some “real” moment. How do you tease those apart? It’s so complicated, this relationship that we have to an image of ourselves.\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: Yes, it’s extremely strange.\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: Are there any pieces in the exhibition that embody what you want people to take away from this?\u003c/p>\n\u003cp>\u003cstrong>SP:\u003c/strong> The Degas picture. And, obviously people like \u003ca href=\"http://en.wikipedia.org/wiki/Weegee\">Weegee\u003c/a> play an enormous role here. And there are certainly pictures that mean a lot to me. The early photograph by Paul Strand of the man who’s sitting on the sidewalk, a poor man, on the street in New York. He’s revealing his inner dislocation or inner anxiety — it’s a picture of someone’s raw psychological anxiety. It’s a very moving picture, done by a guy who was trying to learn about Cubism and elevate photography to a formalist practice. And, at the same time he’s making these pictures of very poor people on the streets without their knowledge of it. That, I would say, is a touchstone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Exposed\u003c/b> was conceived by Sandra Phillips and co-curated with Tate curator of photography Simon Baker. \u003cb>Exposed: Voyeurism, Surveillance, and the Camera Since 1870\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=38473\">Read Carmen Winant’s review\u003c/a>) is on view at SFMoMA through April 17, 2010. For \u003ca href=\"http://www.sfmoma.org/exhibitions/408\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This interview was \u003ca href=\"http://dailyserving.com/2010/12/exposed-interview-with-sandra-phillips/\">originally published\u003c/a> on December 2, 2010 by Daily Serving, an international forum for visual artists.\u003c/i>\u003c/p>\n\u003cp>With a broad mix of photographs from both unknown shutterbugs and internationally recognized artists, \u003cb>Exposed: Voyeurism, Surveillance, and the Camera Since 1870\u003c/b> at SFMOMA examines the images of a culture existing in an uneasy relationship to the camera. The exhibition probes our social connection to surveillance, pornography, and physical and emotional violence. Last week, Daily Serving’s \u003ca href=\"http://dailyserving.com/author/bean-gilsdorf/\">Bean Gilsdorf\u003c/a> sat down with Senior Curator of Photography Sandra Phillips, who talked about her ideas for the exhibition and her connection to some of the photographs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed-goldin.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Nan Goldin, Nan and Brian in bed, New York City, 1983; c. Nan Goldin, courtesy Matthew Marks Gallery.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>Bean Gilsdorf\u003c/strong>: \u003cb>Exposed\u003c/b> was ten years in the making. How and why did it begin?\u003c/p>\n\u003cp>\u003cstrong>Sandra Phillips\u003c/strong>: I did a show called \u003cb>\u003ca href=\"http://www.amazon.com/Police-Pictures-Sandra-S-Phillips/dp/0811819841\">Police Pictures: The Photograph as Evidence\u003c/a>\u003c/b> about twelve years ago because I was very interested in the fact that we ascribe a certain amount of authority to photographs as impartial truth-telling documents. But they can be extremely ambiguous. And it occurred to me that there was another aspect that was about making pictures without people knowing that they were being photographed. There are, in fact, some spy pictures in this show. So that’s how I started.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: Did your organization of this show start with any particular pieces? Or was it just a general concept?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It started as an idea, and the beginning of it was looking at the work of Edgar Degas, believe it or not! He was very interested in photography and he made a lot of photographs. He made pictures of his models that he arranged, but they were presented as though they were spied on. I thought that was completely fascinating — why would someone as important as he be interested in the use of photography as a spying medium? It had to do with his own personal aesthetic, but once you get started in that, then you realize how amazingly broad this topic is.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed-winogrand.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Garry Winogrand, New York, 1969; c. Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>SP\u003c/strong>: I also looked at the work of \u003ca href=\"http://en.wikipedia.org/wiki/Helen_Levitt\">Helen Levitt\u003c/a>, and she was interested in making pictures of people who didn’t realize that they were being photographed. So all of a sudden, this idea expanded: how do you explain street photography without actually dealing with the surveillance aspect of it? 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What do you think is behind that?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It’s an affect, that we want to be photographed as though it’s real, but it’s actually not real. I think this is the big issue now in photography, whether it’s staged or isn’t staged. It comes back to the idea of photography being a medium of truth telling. It’s a very interesting medium; it seems absolutely clear and yet is so mysterious.\u003c/p>\n\u003cp>\u003cstrong>BG\u003c/strong>: I find it interesting that this exhibition came from England, where \u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/6108496.stm\">surveillance culture\u003c/a> is just outrageous. Do you know what the reaction was, over there?\u003c/p>\n\u003cp>\u003cstrong>SP\u003c/strong>: It was tremendously interesting to the English for that very reason. The Tate is a much more public institution than almost any other institution in the world, it has millions of visitors a year. And I can’t remember how many millions of people came to see the show, but it was huge, there was a lot of discussion about it. There was another show about surveillance [\u003cb>Rhetorics of Surveillance: from Bentham to Big Brother\u003c/b> at \u003ca href=\"http://on1.zkm.de/zkm/e/\">ZKM Center for Art and Media\u003c/a> in Karlsruhe] about ten years ago in Germany and it was very theoretical.But in England they have the whole craze, really, for outfitting public spaces with surveillance cameras. There was a child in Scotland who was abducted and killed by two older kids, and that’s what started it all. It was before the al Qaida bombings, it was before all of that. It wasn’t political; the idea was purely to save children’s lives, that’s where it started.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/exposed1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Tazio Secchiaroli, “Anita Ekberg and Husband Anthony Steel, Vecchia Roma,” 1958.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cstrong>BG\u003c/strong>: Which is different from what’s happening right now. On one hand we want to have our personal privacy — when we dictate it! — but on the other hand we want to look as though we’ve been caught on camera in some “real” moment. How do you tease those apart? 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"content": "\u003cp>In 2005, Paul Schiek stumbled into Jim Goldberg’s undergraduate class at California College of the Arts, knowing little about his professor’s vast oeuvre. Since that time, a lot has happened. The two have become dear friends, and recently — professional collaborators. Schiek’s Oakland-based independent book publishing company \u003ca href=\"http://www.tbwbooks.com/\">TBW Books\u003c/a> has just published the first ever re-print of Goldberg’s landmark book \u003cb>Rich and Poor\u003c/b>, twenty-five years after its original run. Made in 1985, the book is an equally poignant and devastating look into class extremism in San Francisco. Picturing subjects in their respective homes and having them hand-write personal statements underneath their black and white portraits, Goldberg’s project broke ground with what a photography book could look like and hope to accomplish. \u003cb>Rich and Poor\u003c/b> is a powerful force, as meaningful now as it has ever been.\u003c/p>\n\u003cp>These photographs show Jim Goldberg and Paul Schiek in the process of readying the personalized editions. First, in Goldberg’s studio in San Francisco’s Mission district as he hand signs each colophon, followed by Schiek working in his TBW Books office in Oakland. These two men have a meaningful relationship, as specific to each other as it is to place; both remain deeply committed to the Bay Area arts community, to which this product is a profound testament.\u003c/p>\n\u003cp>The limited edition set of \u003cb>Rich and Poor\u003c/b> has 300 copy run features 10 postcards, a poster, and a signed colophon. Additionally TBW Book’s 3rd annual quarterly subscription series, featuring the work of Mark Steinmetz, Elaine Stocki, Dru Donovan and Katy Grannan, will be released this week. For \u003ca href=\"http://www.tbwbooks.com/\">more information\u003c/a> visit tbwbooks.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/1-colophon.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Jim Goldberg signs colophons\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2-missionstudio.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Goldberg’s Mission studio\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/3-cover.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Rich and Poor cover\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5-schiek-goldberg.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek and Goldberg confer in the studio\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/6-signing.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek and Goldberg share a laugh during the signing process\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/7-goldberg.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/8-ideaboard.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>TBW Books idea board\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/9-oakland.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek in his Oakland office\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/10-testplate.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Test plates for the edition cover\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, Paul Schiek stumbled into Jim Goldberg’s undergraduate class at California College of the Arts, knowing little about his professor’s vast oeuvre. Since that time, a lot has happened. The two have become dear friends, and recently — professional collaborators. Schiek’s Oakland-based independent book publishing company \u003ca href=\"http://www.tbwbooks.com/\">TBW Books\u003c/a> has just published the first ever re-print of Goldberg’s landmark book \u003cb>Rich and Poor\u003c/b>, twenty-five years after its original run. Made in 1985, the book is an equally poignant and devastating look into class extremism in San Francisco. Picturing subjects in their respective homes and having them hand-write personal statements underneath their black and white portraits, Goldberg’s project broke ground with what a photography book could look like and hope to accomplish. \u003cb>Rich and Poor\u003c/b> is a powerful force, as meaningful now as it has ever been.\u003c/p>\n\u003cp>These photographs show Jim Goldberg and Paul Schiek in the process of readying the personalized editions. First, in Goldberg’s studio in San Francisco’s Mission district as he hand signs each colophon, followed by Schiek working in his TBW Books office in Oakland. These two men have a meaningful relationship, as specific to each other as it is to place; both remain deeply committed to the Bay Area arts community, to which this product is a profound testament.\u003c/p>\n\u003cp>The limited edition set of \u003cb>Rich and Poor\u003c/b> has 300 copy run features 10 postcards, a poster, and a signed colophon. Additionally TBW Book’s 3rd annual quarterly subscription series, featuring the work of Mark Steinmetz, Elaine Stocki, Dru Donovan and Katy Grannan, will be released this week. For \u003ca href=\"http://www.tbwbooks.com/\">more information\u003c/a> visit tbwbooks.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/1-colophon.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Jim Goldberg signs colophons\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2-missionstudio.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Goldberg’s Mission studio\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/3-cover.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Rich and Poor cover\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5-schiek-goldberg.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek and Goldberg confer in the studio\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/6-signing.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek and Goldberg share a laugh during the signing process\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/7-goldberg.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/8-ideaboard.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>TBW Books idea board\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/9-oakland.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Schiek in his Oakland office\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/10-testplate.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Test plates for the edition cover\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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"content": "\u003cp>Andy Goldsworthy’s \u003cb>Incidental Objects\u003c/b> at Haines Gallery suggests that the artist is both uniquely brilliant and oddly ordinary, subtly interrupting an Eden-like nature with his idea of beauty, all the while dressed in jeans and a t-shirt and hiking boots. For a show about the artist’s process it doesn’t explain much. Still a quieter theme emerges as the artist struggles to find beauty in the space between natural forces and his own controlling hand.\u003c/p>\n\u003cp>Goldsworthy’s most familiar works rely on a cycle that resembles a diagram of an ecosystem. Sculptures of raw materials are meticulously constructed in their own environment. Goldsworthy then photographs them, leaving the sculpture to the elements. A perfectionist, his arrangements vary by degree of intervention, from the subtle (a line of broken stones on the beach or a handful of fiery pigment tossed into a river) to the visually stunning, wherein the object appears to be constructed by termites or alien species (“Icicle Star” from 2001 features icicles welded together like a sea urchin — how?).\u003c/p>\n\u003cp>In contrast to his iconic works in photography, \u003cb>Incidental Objects\u003c/b> features everything we haven’t seen: sketches, rubbings, video, and photographs that were created tangentially to his large-scale installations, and experiments with natural materials on paper and canvas. There is a hint of the messianic here: each image of Goldsworthy features him with arms raised to the sides, while paintings of mud and hair feel like relics and look like blood. “Earth and snow, Silverlake to Jackson” (1993) is remarkably painterly, with billowing clouds of earth and water pushing themselves against gravity. Preparatory sketches of the local “Presidio Spire” installation from 2008 and a photograph from a work in Colorado featuring the same conical tower showcase Goldsworthy’s ability to play with a form, changing the materials and scale until he creates a relationship that is harmonic.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/goldsworthyspire.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Stacked branch, boulder, spire, Woody Creek, Colorado,” 2006, Andy Goldsworthy.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Many of the works hold their own, but it can be a struggle to understand what meaning these works lend to the permanent installations that many of them reference. One series of photographs with a \u003cb>Presidio Spire\u003c/b> title features the artist striking the dust repeatedly, pushing a radial cloud upwards in all directions. It’s unclear if the reference to the Spire is a hint to the artist’s process, and the decisions feel too improvisational to provide any easy answers.\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/goldsworthyshadows.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Rain shadow, Sante Fe August 16 and Waterfall shadow, Santa Fe August 17,” 2008, Andy Goldsworthy.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The most captivating work is a two-channel video projection of landscapes, vertically framed like Japanese scrolls. The color between the two is so vastly different — one in deep red sandstone and the other overcast by dreary grays — that one feels like a replica of the other. A patter of rainfall fills the room, and squinting one can see the water drops in their downward motion, bouncing off rocks. At various times Goldsworthy lies down corpse-still in the basin of each landscape, and when he finally scrambles up and out of the frame his reverse-shadow has been traced by the rain in the sand below him. Several surprises ensure that one sits through this 17 minute video work: how fast the shadow vanishes in one screen, how slow in another; how the minds’ eye sees Goldsworthy when he is no longer there; how a landscape can change so drastically in a day, even in minutes, as the right screen becomes overtaken in a torrential stream. Goldsworthy seems to be in a battle with nature. It’s good to see nature win every once in a while.\u003c/p>\n\u003cp>\u003cb>Andy Goldsworthy: Incidental Objects\u003c/b> runs through Dec. 24, 2010 at the Haines Gallery in San Francisco. For \u003ca href=\"http://www.hainesgallery.com/\">more information\u003c/a> visit hainesgallery.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Images c. Andy Goldsworthy, courtesy the artist and Haines Gallery, San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Goldsworthy’s \u003cb>Incidental Objects\u003c/b> at Haines Gallery suggests that the artist is both uniquely brilliant and oddly ordinary, subtly interrupting an Eden-like nature with his idea of beauty, all the while dressed in jeans and a t-shirt and hiking boots. For a show about the artist’s process it doesn’t explain much. Still a quieter theme emerges as the artist struggles to find beauty in the space between natural forces and his own controlling hand.\u003c/p>\n\u003cp>Goldsworthy’s most familiar works rely on a cycle that resembles a diagram of an ecosystem. Sculptures of raw materials are meticulously constructed in their own environment. Goldsworthy then photographs them, leaving the sculpture to the elements. A perfectionist, his arrangements vary by degree of intervention, from the subtle (a line of broken stones on the beach or a handful of fiery pigment tossed into a river) to the visually stunning, wherein the object appears to be constructed by termites or alien species (“Icicle Star” from 2001 features icicles welded together like a sea urchin — how?).\u003c/p>\n\u003cp>In contrast to his iconic works in photography, \u003cb>Incidental Objects\u003c/b> features everything we haven’t seen: sketches, rubbings, video, and photographs that were created tangentially to his large-scale installations, and experiments with natural materials on paper and canvas. There is a hint of the messianic here: each image of Goldsworthy features him with arms raised to the sides, while paintings of mud and hair feel like relics and look like blood. “Earth and snow, Silverlake to Jackson” (1993) is remarkably painterly, with billowing clouds of earth and water pushing themselves against gravity. Preparatory sketches of the local “Presidio Spire” installation from 2008 and a photograph from a work in Colorado featuring the same conical tower showcase Goldsworthy’s ability to play with a form, changing the materials and scale until he creates a relationship that is harmonic.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/goldsworthyspire.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Stacked branch, boulder, spire, Woody Creek, Colorado,” 2006, Andy Goldsworthy.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Many of the works hold their own, but it can be a struggle to understand what meaning these works lend to the permanent installations that many of them reference. One series of photographs with a \u003cb>Presidio Spire\u003c/b> title features the artist striking the dust repeatedly, pushing a radial cloud upwards in all directions. It’s unclear if the reference to the Spire is a hint to the artist’s process, and the decisions feel too improvisational to provide any easy answers.\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/goldsworthyshadows.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Rain shadow, Sante Fe August 16 and Waterfall shadow, Santa Fe August 17,” 2008, Andy Goldsworthy.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The most captivating work is a two-channel video projection of landscapes, vertically framed like Japanese scrolls. The color between the two is so vastly different — one in deep red sandstone and the other overcast by dreary grays — that one feels like a replica of the other. A patter of rainfall fills the room, and squinting one can see the water drops in their downward motion, bouncing off rocks. At various times Goldsworthy lies down corpse-still in the basin of each landscape, and when he finally scrambles up and out of the frame his reverse-shadow has been traced by the rain in the sand below him. Several surprises ensure that one sits through this 17 minute video work: how fast the shadow vanishes in one screen, how slow in another; how the minds’ eye sees Goldsworthy when he is no longer there; how a landscape can change so drastically in a day, even in minutes, as the right screen becomes overtaken in a torrential stream. Goldsworthy seems to be in a battle with nature. It’s good to see nature win every once in a while.\u003c/p>\n\u003cp>\u003cb>Andy Goldsworthy: Incidental Objects\u003c/b> runs through Dec. 24, 2010 at the Haines Gallery in San Francisco. For \u003ca href=\"http://www.hainesgallery.com/\">more information\u003c/a> visit hainesgallery.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Images c. Andy Goldsworthy, courtesy the artist and Haines Gallery, San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The feeling you get walking into Ann Weber’s studio is positively overwhelming (in the best way). Her space is filled floor-to-ceiling with immense, gasp-inducing cardboard sculptures. For many years, Weber worked with cardboard’s multi-tonal, tan shades. Now she’s branching out and adding colorful boxes to her materials list. When a particular box with a red circle pattern caught her eye at Long’s, she made repeat visits until they finally surrendered and unloaded the box. Needless to say, Weber is dedicated to her craft. We recently had the pleasure of joining her for cheese sandwiches at her Emeryville studio where we got to chatting about what prompted her shift from ceramics to cardboard, what it was like coming up during the Women’s Lib Movement, and why craft shouldn’t be a dirty word.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-15.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>You worked as a potter, selling your work to high-end stores, and later studied with Viola Frey, who is known for her enormous ceramic figures. Why did you decide to go big with cardboard rather than ceramics like Viola?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ann Weber:\u003c/b> “First of all, Viola had large-scale covered in clay. She also had a big studio, two shop techs, and a forklift. There was no way I could’ve afforded that; it was hard enough just to get through school. I had a small studio and was working with paper mâché and plaster. You could mix a gallon of plaster and make a piece in a day that was as tall as you were. Working on a small scale didn’t appeal to me, and so I made the choice to leave clay. I couldn’t quite bring myself to tell Viola so I told her colleague, who was also a teacher of mine, Charles Fisk. I sat down with him and we smoked a cigarette and I said, “Charles, I’m leaving clay.” He jumped up and his chair flew back, and he said, “Leave clay! But don’t leave art.” That was my encouragement to keep going in whatever direction I felt that I needed to go.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-6.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d done my MFA show in clay. A lot of it was figurative or derivative of Robert Arneson, Viola, and Richard Shaw. Those were our mentors, and it was a school of working that was very specific to the Bay Area. In some ways, I almost had to leave clay to get out from under my teachers. I had just moved my studio and there was a big pile of boxes that I’d flattened. I thought well, heck, make the sculptures out of cardboard. There’s all this material here. Twenty years later, I still feel like there are infinite possibilities with this crazy material. It’s not unlike clay because I’m stapling these strips together and it’s very similar to making coil pots.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-3.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you ever have a hard time being a woman making sculpture since it has been a male dominated medium in the past?\u003c/i>\u003c/p>\n\u003cp>“The Women’s Liberation Movement started around the time that I was 15 and 20, so it was very powerful. I feel that the Louises (Louise Nevelson and Louise Bourgeois) and Viola had broken the wall down — blasted it down, really. The Guerilla Girls and a lot of people were protesting the dearth of women in the galleries and museums, especially on the East Coast, and I felt that we were part of a vanguard that was changing things. And, in school, there were more women than men in fine arts programs, and I think that’s still the case. I try not to think about it too much. I would rather just be an artist, rather than feel neglected as an artist. And I think the cream almost always comes to the top, especially if you’re putting yourself out there as an artist. If you’re alone in your studio making the best art in the world, nobody’s going to find it. You have to take responsibility and do what some people call marketing their work, but I call it shepherding your work. You have to make sure that it sees the light of day.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-8.jpg\">\u003c/p>\n\u003cp>“As far as being a woman artist, that might be one reason why I make such large pieces, to take up a lot of space and magnify myself. I learned a lot from other male sculptors because they were fearless. It was wonderful to be part of a group called the Pacific Rim Sculptors in the ’90s. The men never balked at making things large and heavy because they always figured that there are cranes. And women can rent cranes just as easily as men! When I started doing public art projects, the process had been demystified and I knew anything was possible.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-11.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you have any hesitation about your upcoming exhibition in L.A. because it’s at a Craft and Folk Art Museum?\u003c/i>\u003c/p>\n\u003cp>“I don’t think craft is a dirty word. In fact, I went to the California College of Arts and Crafts. As soon as people started erasing crafts from their logos and their titles, I feel like the movement did a knee-jerk kick and people started knitting, and crocheting, and DIY-ing, and Etsy-ing. The craft movement was reborn as soon as it was buried because people couldn’t bear to not have craft be part of how they make art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-13.jpg\">\u003c/p>\n\u003cp>\u003ci>When you use boxes with recognizable branding, do people say that you’re commenting on consumerism?\u003c/i>\u003c/p>\n\u003cp>“There’s a little bit of that, but the thing I really resent is being thought of as part of the recycling movement. I feel like I’m coming from Arte Povera and resourcefulness. It’s not about recycling. It’s about making something out of nothing. My work is not political.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-5.jpg\">\u003c/p>\n\u003cp>If your art had a soundtrack, what would it be?\u003c/p>\n\u003cp>“\u003cb>So What\u003c/b> by Miles Davis.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>See Ann Weber’s work in \u003ca href=\"http://www.cainschulte.com/exhibitions/ex_magna_carta_2010.html\">a group show at Caine Shulte Gallery\u003c/a> in San Francisco through January 18, 2011 and take a look at this \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4175\">video about her on KQED Spark\u003c/a>. Ann Weber has been represented by the Donna Seager Gallery since 2007.\u003c/p>\n\n",
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"excerpt": "The feeling you get walking into Ann Weber's Emeryville studio is positively overwhelming (in the best way). We recently had the pleasure of joining her there and got to chatting about what prompted her shift from ceramics to cardboard and why craft shouldn't be a dirty word.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The feeling you get walking into Ann Weber’s studio is positively overwhelming (in the best way). Her space is filled floor-to-ceiling with immense, gasp-inducing cardboard sculptures. For many years, Weber worked with cardboard’s multi-tonal, tan shades. Now she’s branching out and adding colorful boxes to her materials list. When a particular box with a red circle pattern caught her eye at Long’s, she made repeat visits until they finally surrendered and unloaded the box. Needless to say, Weber is dedicated to her craft. We recently had the pleasure of joining her for cheese sandwiches at her Emeryville studio where we got to chatting about what prompted her shift from ceramics to cardboard, what it was like coming up during the Women’s Lib Movement, and why craft shouldn’t be a dirty word.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-15.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>You worked as a potter, selling your work to high-end stores, and later studied with Viola Frey, who is known for her enormous ceramic figures. Why did you decide to go big with cardboard rather than ceramics like Viola?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ann Weber:\u003c/b> “First of all, Viola had large-scale covered in clay. She also had a big studio, two shop techs, and a forklift. There was no way I could’ve afforded that; it was hard enough just to get through school. I had a small studio and was working with paper mâché and plaster. You could mix a gallon of plaster and make a piece in a day that was as tall as you were. Working on a small scale didn’t appeal to me, and so I made the choice to leave clay. I couldn’t quite bring myself to tell Viola so I told her colleague, who was also a teacher of mine, Charles Fisk. I sat down with him and we smoked a cigarette and I said, “Charles, I’m leaving clay.” He jumped up and his chair flew back, and he said, “Leave clay! But don’t leave art.” That was my encouragement to keep going in whatever direction I felt that I needed to go.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-6.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d done my MFA show in clay. A lot of it was figurative or derivative of Robert Arneson, Viola, and Richard Shaw. Those were our mentors, and it was a school of working that was very specific to the Bay Area. In some ways, I almost had to leave clay to get out from under my teachers. I had just moved my studio and there was a big pile of boxes that I’d flattened. I thought well, heck, make the sculptures out of cardboard. There’s all this material here. Twenty years later, I still feel like there are infinite possibilities with this crazy material. It’s not unlike clay because I’m stapling these strips together and it’s very similar to making coil pots.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-3.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you ever have a hard time being a woman making sculpture since it has been a male dominated medium in the past?\u003c/i>\u003c/p>\n\u003cp>“The Women’s Liberation Movement started around the time that I was 15 and 20, so it was very powerful. I feel that the Louises (Louise Nevelson and Louise Bourgeois) and Viola had broken the wall down — blasted it down, really. The Guerilla Girls and a lot of people were protesting the dearth of women in the galleries and museums, especially on the East Coast, and I felt that we were part of a vanguard that was changing things. And, in school, there were more women than men in fine arts programs, and I think that’s still the case. I try not to think about it too much. I would rather just be an artist, rather than feel neglected as an artist. And I think the cream almost always comes to the top, especially if you’re putting yourself out there as an artist. If you’re alone in your studio making the best art in the world, nobody’s going to find it. You have to take responsibility and do what some people call marketing their work, but I call it shepherding your work. You have to make sure that it sees the light of day.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-8.jpg\">\u003c/p>\n\u003cp>“As far as being a woman artist, that might be one reason why I make such large pieces, to take up a lot of space and magnify myself. I learned a lot from other male sculptors because they were fearless. It was wonderful to be part of a group called the Pacific Rim Sculptors in the ’90s. The men never balked at making things large and heavy because they always figured that there are cranes. And women can rent cranes just as easily as men! When I started doing public art projects, the process had been demystified and I knew anything was possible.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-11.jpg\">\u003c/p>\n\u003cp>\u003ci>Did you have any hesitation about your upcoming exhibition in L.A. because it’s at a Craft and Folk Art Museum?\u003c/i>\u003c/p>\n\u003cp>“I don’t think craft is a dirty word. In fact, I went to the California College of Arts and Crafts. As soon as people started erasing crafts from their logos and their titles, I feel like the movement did a knee-jerk kick and people started knitting, and crocheting, and DIY-ing, and Etsy-ing. The craft movement was reborn as soon as it was buried because people couldn’t bear to not have craft be part of how they make art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-13.jpg\">\u003c/p>\n\u003cp>\u003ci>When you use boxes with recognizable branding, do people say that you’re commenting on consumerism?\u003c/i>\u003c/p>\n\u003cp>“There’s a little bit of that, but the thing I really resent is being thought of as part of the recycling movement. I feel like I’m coming from Arte Povera and resourcefulness. It’s not about recycling. It’s about making something out of nothing. My work is not political.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weber-5.jpg\">\u003c/p>\n\u003cp>If your art had a soundtrack, what would it be?\u003c/p>\n\u003cp>“\u003cb>So What\u003c/b> by Miles Davis.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>See Ann Weber’s work in \u003ca href=\"http://www.cainschulte.com/exhibitions/ex_magna_carta_2010.html\">a group show at Caine Shulte Gallery\u003c/a> in San Francisco through January 18, 2011 and take a look at this \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4175\">video about her on KQED Spark\u003c/a>. Ann Weber has been represented by the Donna Seager Gallery since 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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