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"content": "\u003cp>Wes Anderson’s films are the catalyst for a rich, inaugural group show at a new ‘Loin School gallery called Lopo, which grew miraculously out of the back of \u003ca href=\"http://www.spacegallerysf.com/\">Space Gallery\u003c/a>. Converted from an old storage room, Lopo’s three room space is big enough for multiple concurrent shows. Whether you love, hate, or are clueless about Anderson’s films (\u003cb>Bottle Rocket\u003c/b>, \u003cb>Rushmore\u003c/b>, \u003cb>The Royal Tenenbaums\u003c/b>, \u003cb>The Life Aquatic with Steve Zissou\u003c/b>, \u003cb>The Darjeeling Limited\u003c/b>, and \u003cb>Fantastic Mr. Fox\u003c/b>), the exhibition could inspire a movie marathon as you reunite with (or are introduced to) his collection of complex, idiosyncratic characters.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/margot.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The show is hung salon style and is titled \u003cb>Bad Dads\u003c/b> because nearly all of Wes Anderson’s characters have daddy issues. Royal Tenenbaum and Steve Zissou were emotionally unavailable, and even Mr. Fox was a not-so-fantastic father. Consequently the films are populated by emotionally-scarred offspring, whose mopey faces appear among the show’s many portraits. Margot Tenenbaum is one of the most-visited muses. As a tortured playwright, it’s easy to see why her character resonates with artists. Her forbidden romance with her brother, Richie, is also represented. Steve Zissou (Bill Murray), sporting his signature red beanie, the signature element of his crew’s uniform, the Belafonte, is also well represented. The show features many character studies in paint and collage, some literal and some re-imagined. Anderson recycles actors and Bill Murray appears in several of his films, so naturally he appears in various guises in the art. One artist painted Murray dressed as some of the other recognizable characters and renamed them “Margot Murray,” or “Richie Murray,” for example.\u003c/p>\n\u003cp>Several print series were released in conjunction with the show, including an homage to Jason Schwartzman’s character from Anderson’s short film, \u003cb>Hotel Chevalier\u003c/b>. In the print, Schwartzman’s character, Jack Whitman, is surrounded by a French translation of the memorable words he delivers to his ex-girlfriend: “I promise I’ll never be your friend. No matter what. Ever.” Besides Anderson’s relatable characters, the art direction, music, and quotable moments in his films are easy targets for artists.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/lamWhA7j8gY?fs=1&hl=en_US\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/lamWhA7j8gY?fs=1&hl=en_US\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Curator Ken Harman considers Anderson one of few directors whose films have each reached some level of cult status. He gave selected artists three months to create something inspired by Anderson’s characters and themes and kept the rules loose. Interest spread quickly as some of the artists’ friends joined in. The show ended up featuring nearly fifty artists and seventy new works. Despite having seen several web previews of the show, seeing it in person was like walking into a huge box of fan art created by talented people with widely varying styles. But it’s much more than fan art. The show is an honest tribute to the director and the misfit families he invents. If I were Wes Anderson, I’d buy the entire show.\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/fox.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I recommend streaming Flavorwire’s \u003ca href=\"http://flavorwire.com/125991/how-to-throw-a-wes-anderson-style-wedding/6\">Wes Anderson-style playlist\u003c/a> through your headphones as you peruse the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bad Dads\u003c/b> is on view through November 27, 2010 at Lopo Gallery in San Francisco. For \u003ca href=\"http://%20www.lopogallery.com\">more information\u003c/a> visit lopogallery.com.\u003c/p>\n\n",
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"content": "\u003cp>This past weekend, Mission-based gallery \u003ca href=\"http://ratio3.org/\">Ratio 3\u003c/a> mounted \u003cb>Life Adjustment Center\u003c/b>, a show of work by New York photographer \u003ca href=\"http://ryanmcginley.com/\">Ryan McGinley\u003c/a>. McGinley, who in 2003 gained the distinction of being the youngest-ever artist — at the age 25 — to receive a solo show at the Whitney Museum of American Art, has continued his steady rise to the top of the fine art and commercial photography food chain. His shows consistently attract masses of young hipsters (all looking suspiciously like him), and his photographs often sell out before the openings even happen.\u003c/p>\n\u003cp>Â \u003c/p>\n\u003cp>Critics love or loathe McGinley’s work for the same reason: the pure pleasure of his pictures. They are full of youthful rebellion, spontaneous and intimate. Often occupied by lanky young bodies running or jumping through space, the only real darkness comes from their unabashed hedonism. In her 2007 essay for \u003ci>New York Magazine\u003c/i>, writer Ariel Levy described McGinley’s work as “Nan Goldin hit with a happy wand.” This is a world that McGinley not only depicts, but seems also to occupy.\u003c/p>\n\u003cp>Â \u003c/p>\n\u003cp>For this photo essay, I wanted to picture not only the hoopla surrounding McGinley’s San Francisco opening (at which Christopher Owens, from the San Francisco-based band \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=25388\">Girls\u003c/a> performed), but the behind-the-scenes installation process. Taking the better part of two days, with the help of installers Seth Curcio and Chase Hoblitzell, gallery director Chris Perez and Ryan McGinley arranged and re-arranged the images, mulling every detail. The result, no matter your opinion on McGinley (and everyone has one) is remarkable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/1_door.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ryan McGinley\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/curcio-mcginley-perez.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth Curcio, Ryan McGinley & Chris Perez\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/4_curcio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth Curcio\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ryan McGinley\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/6_option.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/7_chase.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Chase Hoblitzell\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/8_Sethryanchris.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth, Ryan and Chris oversee the installation\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/10_crowd.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Opening Night Party\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>McGinley introduces Christopher Owens of Girls\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/13_owens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Christopher Owens performs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Life Adjustment Center\u003c/b> is on view through December 11, 2010 at Ratio 3 in San Francisco. For \u003ca href=\"http://ratio3.org/\">more information\u003c/a> visit ratio3.org. All photos: Carmen Winant.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past weekend, Mission-based gallery \u003ca href=\"http://ratio3.org/\">Ratio 3\u003c/a> mounted \u003cb>Life Adjustment Center\u003c/b>, a show of work by New York photographer \u003ca href=\"http://ryanmcginley.com/\">Ryan McGinley\u003c/a>. McGinley, who in 2003 gained the distinction of being the youngest-ever artist — at the age 25 — to receive a solo show at the Whitney Museum of American Art, has continued his steady rise to the top of the fine art and commercial photography food chain. His shows consistently attract masses of young hipsters (all looking suspiciously like him), and his photographs often sell out before the openings even happen.\u003c/p>\n\u003cp>Â \u003c/p>\n\u003cp>Critics love or loathe McGinley’s work for the same reason: the pure pleasure of his pictures. They are full of youthful rebellion, spontaneous and intimate. Often occupied by lanky young bodies running or jumping through space, the only real darkness comes from their unabashed hedonism. In her 2007 essay for \u003ci>New York Magazine\u003c/i>, writer Ariel Levy described McGinley’s work as “Nan Goldin hit with a happy wand.” This is a world that McGinley not only depicts, but seems also to occupy.\u003c/p>\n\u003cp>Â \u003c/p>\n\u003cp>For this photo essay, I wanted to picture not only the hoopla surrounding McGinley’s San Francisco opening (at which Christopher Owens, from the San Francisco-based band \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=25388\">Girls\u003c/a> performed), but the behind-the-scenes installation process. Taking the better part of two days, with the help of installers Seth Curcio and Chase Hoblitzell, gallery director Chris Perez and Ryan McGinley arranged and re-arranged the images, mulling every detail. The result, no matter your opinion on McGinley (and everyone has one) is remarkable.\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/1_door.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ryan McGinley\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/curcio-mcginley-perez.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth Curcio, Ryan McGinley & Chris Perez\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/4_curcio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth Curcio\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ryan McGinley\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/6_option.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/7_chase.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Chase Hoblitzell\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/8_Sethryanchris.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seth, Ryan and Chris oversee the installation\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/10_crowd.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Opening Night Party\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11_mcginley.jpg\" style=\"margin-bottom: 10px\">\u003cbr>McGinley introduces Christopher Owens of Girls\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/13_owens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Christopher Owens performs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Life Adjustment Center\u003c/b> is on view through December 11, 2010 at Ratio 3 in San Francisco. For \u003ca href=\"http://ratio3.org/\">more information\u003c/a> visit ratio3.org. All photos: Carmen Winant.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bob Fisher discusses how he began collecting photography and reveals the interests and ideas that have fueled his collection for nearly 30 years. \u003cem>FROM THE COLLECTION OF RANDI AND BOB FISHER\u003c/em> is on view through February 2011 at Pier 24 in San Francisco.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/edguide-fisher24.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Free Crappy Portraits",
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"content": "\u003cp>“Some bad artists just really want to draw you.” — Rj Buckler, co-founder, FreeCrappyPortraits.com\u003c/p>\n\u003cp>There is a special place in my heart for artists who “can’t draw,” mostly because I’m one of them. However, in line with the African saying, “If you can walk, you can dance. If you can talk, you can sing,” I believe that if you can write, you can draw. You might draw badly but, in my opinion, anything handmade is worthwhile. \u003ca href=\"http://www.freecrappyportraits.com\">FreeCrappyPortraits.com\u003c/a> is exactly what it sounds like: a place to submit photos in return for an amateur drawing for no money. I submitted an image the minute I heard about it and received a hilarious interpretation of my ridiculous photo a few days later, along with an invitation to be a guest artist. As a bonus, the anonymous FCP artist included a witty personalized message with my free portrait, and I immediately felt the need to ask this crappy art crew to explain themselves. Here’s an excerpt from my four-way email chat with FCP founding artists Rj, Alyssa, and Sarah.\u003c/p>\n\u003cp>\u003ci>KF: Define “crappy.”\u003c/i>\u003c/p>\n\u003cp>Rj: We bill it as crappy so expectations are as low as possible regarding the artistic quality. If they do fall in love with it and even go so far as to display it, then they either have the same sense of humor as us, or there is possibly something wrong with them.\u003c/p>\n\u003cp>Sarah: Crappy is when you meant to draw a camel but everyone else thinks it looks like a priest’s melting corpse. I hate drawing hands and feet, so thankfully with FCP I don’t have to worry about it. Hands and feet become circles and triangles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alyssa: Crappy is a state of being, which does not conform to the accepted social standards of skill, taste, and beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: It’s really meta portraits you’re creating, right? Drawn portraits of photo portraits.\u003c/i>\u003c/p>\n\u003cp>Alyssa: Ok fine. You got us on a technicality there, I suppose. But it didn’t start out that way! Promise! FCP began in pure form, by drawing strangers as they walked by our obnoxiously decorated table in the park. However, there are only so many people walking through Wicker Park on any given day. There are a lot more people walking through the Internet! The purity may be lacking a bit these days, but the genuine crap holds strong.\u003c/p>\n\u003cp>\u003ci>KF: What inspired this idea?\u003c/i>\u003c/p>\n\u003cp>Rj: At the time FCP was conceived, I was making a short documentary about the people of \u003ca href=\"http://www.sf0.org/\">SF0.org\u003c/a>, a group of hilarious artists that give each other public tasks to perform. They do things like hang fruit in trees in winter, dance on trains — all kinds of assigned social subversion. They were a definite influence on me when I first had the idea to do FCP in the park.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: You’re all secretly decent artists, aren’t you?\u003c/i>\u003c/p>\n\u003cp>Rj: Alyssa’s horrible; she’s the last person you’d ever expect to work regularly on an art site. And we always tell her that, yet she laughs it off and keeps trying. I love the occasional stifling silence in our e-mail account when we send Alyssa’s portraits out to people. Like we’ve crushed their dreams so severely they’re left in an incommunicable state. In high school, I was considered good at drawing. Sarah should probably be fired; her art is incredible. It gives us all balance: Sarah and Alyssa at either end of the quality teeter-totter, and me somewhere wandering around in the middle.\u003c/p>\n\u003cp>\u003ci>KF: Are you starting to get overloaded with submissions?\u003c/i>\u003c/p>\n\u003cp>Rj: Yes! Our inbox has been pretty busy lately! We love it and hope it doesn’t slow down. One art site, \u003ca href=\"http://www.lostateminor.com/\">Lost at E Minor\u003c/a>, gave us a nice mention that multiplied our standard hits by about 30 in one day. Opening our inbox every day feels like Christmas. We often try to write back and forth with the person and get to know them a little bit instead of just coldly drawing and sending mechanically. People usually submit because they want something interesting to happen to them, and we try to be that thing, even if it’s just briefly. As we get overloaded, we’ll become more efficient at delegating out to strangers. Anyone can do guest art, they should just mention they’d like to. We cover ourselves by saying on the submissions page: “Give us from one to a million days.” We would like to draw everyone on earth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: Please share some funny/interesting/crappy stories from the field.\u003c/i>\u003c/p>\n\u003cp>Rj: I like when psychic portraiture happens. Alyssa, who can be pretty ‘creative’ with her color choices, managed to color a baby purple at the park one time. Upon handing over the portrait, she found out the baby’s name was Violet. How do you explain that?!\u003c/p>\n\u003cp>Alyssa: FCP brings friends together! We brought FCP supplies to several outdoor summer concerts. Jugs of wine and phone numbers were offered in exchange for portraits, bonds were solidified, and good times were had by all! Whoever said, “Don’t drink and draw,” hasn’t properly tried it. Stop the war. Draw crap.\u003c/p>\n\u003cp>Sarah: I find it amusing that my actual career as a graphic artist is in comfortable mediocrity, but my crappy art is getting featured on high-profile design blogs. Take that, five years of artistic training!\u003c/p>\n\u003cp>\u003ci>KF: Justine Bateman was your first celebrity guest artist. Do you have more special guests lined up?\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rj: A ton! Steve Martin, Stephen Colbert (Jon Stewart would suffice), Tommy Wiseau, Simon Pegg, Dmitri Martin. Okay, it’s more of a wish list at this point. Those are the top five I would like our website to land through magic.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Some bad artists just really want to draw you.” — Rj Buckler, co-founder, FreeCrappyPortraits.com\u003c/p>\n\u003cp>There is a special place in my heart for artists who “can’t draw,” mostly because I’m one of them. However, in line with the African saying, “If you can walk, you can dance. If you can talk, you can sing,” I believe that if you can write, you can draw. You might draw badly but, in my opinion, anything handmade is worthwhile. \u003ca href=\"http://www.freecrappyportraits.com\">FreeCrappyPortraits.com\u003c/a> is exactly what it sounds like: a place to submit photos in return for an amateur drawing for no money. I submitted an image the minute I heard about it and received a hilarious interpretation of my ridiculous photo a few days later, along with an invitation to be a guest artist. As a bonus, the anonymous FCP artist included a witty personalized message with my free portrait, and I immediately felt the need to ask this crappy art crew to explain themselves. Here’s an excerpt from my four-way email chat with FCP founding artists Rj, Alyssa, and Sarah.\u003c/p>\n\u003cp>\u003ci>KF: Define “crappy.”\u003c/i>\u003c/p>\n\u003cp>Rj: We bill it as crappy so expectations are as low as possible regarding the artistic quality. If they do fall in love with it and even go so far as to display it, then they either have the same sense of humor as us, or there is possibly something wrong with them.\u003c/p>\n\u003cp>Sarah: Crappy is when you meant to draw a camel but everyone else thinks it looks like a priest’s melting corpse. I hate drawing hands and feet, so thankfully with FCP I don’t have to worry about it. Hands and feet become circles and triangles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alyssa: Crappy is a state of being, which does not conform to the accepted social standards of skill, taste, and beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: It’s really meta portraits you’re creating, right? Drawn portraits of photo portraits.\u003c/i>\u003c/p>\n\u003cp>Alyssa: Ok fine. You got us on a technicality there, I suppose. But it didn’t start out that way! Promise! FCP began in pure form, by drawing strangers as they walked by our obnoxiously decorated table in the park. However, there are only so many people walking through Wicker Park on any given day. There are a lot more people walking through the Internet! The purity may be lacking a bit these days, but the genuine crap holds strong.\u003c/p>\n\u003cp>\u003ci>KF: What inspired this idea?\u003c/i>\u003c/p>\n\u003cp>Rj: At the time FCP was conceived, I was making a short documentary about the people of \u003ca href=\"http://www.sf0.org/\">SF0.org\u003c/a>, a group of hilarious artists that give each other public tasks to perform. They do things like hang fruit in trees in winter, dance on trains — all kinds of assigned social subversion. They were a definite influence on me when I first had the idea to do FCP in the park.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: You’re all secretly decent artists, aren’t you?\u003c/i>\u003c/p>\n\u003cp>Rj: Alyssa’s horrible; she’s the last person you’d ever expect to work regularly on an art site. And we always tell her that, yet she laughs it off and keeps trying. I love the occasional stifling silence in our e-mail account when we send Alyssa’s portraits out to people. Like we’ve crushed their dreams so severely they’re left in an incommunicable state. In high school, I was considered good at drawing. Sarah should probably be fired; her art is incredible. It gives us all balance: Sarah and Alyssa at either end of the quality teeter-totter, and me somewhere wandering around in the middle.\u003c/p>\n\u003cp>\u003ci>KF: Are you starting to get overloaded with submissions?\u003c/i>\u003c/p>\n\u003cp>Rj: Yes! Our inbox has been pretty busy lately! We love it and hope it doesn’t slow down. One art site, \u003ca href=\"http://www.lostateminor.com/\">Lost at E Minor\u003c/a>, gave us a nice mention that multiplied our standard hits by about 30 in one day. Opening our inbox every day feels like Christmas. We often try to write back and forth with the person and get to know them a little bit instead of just coldly drawing and sending mechanically. People usually submit because they want something interesting to happen to them, and we try to be that thing, even if it’s just briefly. As we get overloaded, we’ll become more efficient at delegating out to strangers. Anyone can do guest art, they should just mention they’d like to. We cover ourselves by saying on the submissions page: “Give us from one to a million days.” We would like to draw everyone on earth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2010/10/21/crappy3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>KF: Please share some funny/interesting/crappy stories from the field.\u003c/i>\u003c/p>\n\u003cp>Rj: I like when psychic portraiture happens. Alyssa, who can be pretty ‘creative’ with her color choices, managed to color a baby purple at the park one time. Upon handing over the portrait, she found out the baby’s name was Violet. How do you explain that?!\u003c/p>\n\u003cp>Alyssa: FCP brings friends together! We brought FCP supplies to several outdoor summer concerts. Jugs of wine and phone numbers were offered in exchange for portraits, bonds were solidified, and good times were had by all! Whoever said, “Don’t drink and draw,” hasn’t properly tried it. Stop the war. Draw crap.\u003c/p>\n\u003cp>Sarah: I find it amusing that my actual career as a graphic artist is in comfortable mediocrity, but my crappy art is getting featured on high-profile design blogs. Take that, five years of artistic training!\u003c/p>\n\u003cp>\u003ci>KF: Justine Bateman was your first celebrity guest artist. Do you have more special guests lined up?\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rj: A ton! Steve Martin, Stephen Colbert (Jon Stewart would suffice), Tommy Wiseau, Simon Pegg, Dmitri Martin. Okay, it’s more of a wish list at this point. Those are the top five I would like our website to land through magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "STUDIO INVASION: Richard Colman",
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"content": "\u003cp>We weren’t the first to invade Richard Colman’s studio, nor will we be the last. He grew up in Maryland and went on to live in both New York and Los Angeles before settling in San Francisco. His paintings, installations, and sculptural works, which have been exhibited internationally, are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coleman-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your new show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Colman:\u003c/b> “It is a huge space, so I wanted to take advantage of that. The installation builds off work I’ve done in the past with these very involved stage areas. I like set design and fantastical worlds, so I’m playing off of that. Some of the new work is silver, black, and white — my work tends to be really colorful, geometric, and super detailed, so this was something new to change directions, and limit myself to working with a few colors. I’m also bringing in elements like trees that are taken from work I was doing about five years ago — primarily ink and wash drawings with very simple palettes. I thought it would be fun to take that and infuse it with the color palette I’ve been developing over the years.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-16.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>What traditional art forms influence your style?\u003c/i>\u003c/p>\n\u003cp>“I was always drawn to Byzantine art. I like the stiffness of it and how it’s very flat, but at the same time it expresses a lot. I always liked how there is a secret language to old religious paintings, whether it’s the direction of the way someone is looking, or the way their hand is pointed — little things that you can get drawn into and lost in. Also Russian miniature painting, Islamic painting, and anything that involves patterning. That’s a pretty major early influence, and it’s ingrained in what I do at this point.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-5.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you intend to make your imagery look timeless or not of the current era?\u003c/i>\u003c/p>\n\u003cp>“I like to keep things more ambiguous, and I think that makes it easier for people to relate to it. I like the idea that when you make something and put it out in the world, at that point you’ve given it over. I have my relationship to the work when I’m making it and thinking about it, but once it’s hung and it’s out there, it ceases to be mine. It’s for everybody else. I like to keep things open for people. I intentionally keep things very simple, like the characters. I don’t feel the need to render them out too much. I tend to work from the inside out, and I think that people can pick up on that sort of thing, and maybe universal feelings or topics come up. Hopefully.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-21.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there a dark side to your work?\u003c/i>\u003c/p>\n\u003cp>“Before, there was. Everybody’s got that angsty crap they hold within them, and at first you want to make paintings about it. Now, instead of illustrating or showing an uneasy situation, I’ll try to combine colors and forms and shapes that invoke that feeling. Or sometimes it’s about finding colors that create a harmony or calmness.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-10.jpg\">\u003c/p>\n\u003cp>\u003ci>We noticed a tribute to Alexander McQueen on your blog. What other creative fields inspire you?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in all creative things. I just like it when people make things. Especially something like his work, it’s perfect. There are few things you can say that about. The backwards shoes? I was blown away when I saw those. But fashion is not something that I’m fully immersed in. I like having a distance from things where I don’t fully understand them, so they can still remain magical and exotic.”\u003c/p>\n\u003cp>“I collect a lot of contemporary art, but there’s equally as much art in my collection that I’ve found at flea markets or garage sales. The things I find there are just as good as anything else that I have because somebody made them.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-25.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-8.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you collect anything else?\u003c/i>\u003c/p>\n\u003cp>“Tons of stuff. I’m like a hoarder but a bit more organized. I collect toys. We have a lot of taxidermy and artwork, books, music, and my girlfriend collects sand from different places. If I go somewhere and she’s not with me, I’ll grab a little bag of sand for her.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your paintings had a soundtrack, what would it sound like?\u003c/i>\u003c/p>\n\u003cp>“White noise.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-15.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard Colman’s new show, \u003cb>Something Better\u003c/b>, opens at Guerrero Gallery October 16, 2010.\u003c/p>\n\n",
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"excerpt": "Richard Colman's paintings, installations, and sculptural works are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We weren’t the first to invade Richard Colman’s studio, nor will we be the last. He grew up in Maryland and went on to live in both New York and Los Angeles before settling in San Francisco. His paintings, installations, and sculptural works, which have been exhibited internationally, are brimming with color and tension, and they seem to beg to be deciphered. We were lucky to catch up with the artist in his studio in The Mission before his skyrocketing art career makes him less accessible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coleman-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your new show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Colman:\u003c/b> “It is a huge space, so I wanted to take advantage of that. The installation builds off work I’ve done in the past with these very involved stage areas. I like set design and fantastical worlds, so I’m playing off of that. Some of the new work is silver, black, and white — my work tends to be really colorful, geometric, and super detailed, so this was something new to change directions, and limit myself to working with a few colors. I’m also bringing in elements like trees that are taken from work I was doing about five years ago — primarily ink and wash drawings with very simple palettes. I thought it would be fun to take that and infuse it with the color palette I’ve been developing over the years.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-16.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>What traditional art forms influence your style?\u003c/i>\u003c/p>\n\u003cp>“I was always drawn to Byzantine art. I like the stiffness of it and how it’s very flat, but at the same time it expresses a lot. I always liked how there is a secret language to old religious paintings, whether it’s the direction of the way someone is looking, or the way their hand is pointed — little things that you can get drawn into and lost in. Also Russian miniature painting, Islamic painting, and anything that involves patterning. That’s a pretty major early influence, and it’s ingrained in what I do at this point.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-5.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you intend to make your imagery look timeless or not of the current era?\u003c/i>\u003c/p>\n\u003cp>“I like to keep things more ambiguous, and I think that makes it easier for people to relate to it. I like the idea that when you make something and put it out in the world, at that point you’ve given it over. I have my relationship to the work when I’m making it and thinking about it, but once it’s hung and it’s out there, it ceases to be mine. It’s for everybody else. I like to keep things open for people. I intentionally keep things very simple, like the characters. I don’t feel the need to render them out too much. I tend to work from the inside out, and I think that people can pick up on that sort of thing, and maybe universal feelings or topics come up. Hopefully.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-21.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there a dark side to your work?\u003c/i>\u003c/p>\n\u003cp>“Before, there was. Everybody’s got that angsty crap they hold within them, and at first you want to make paintings about it. Now, instead of illustrating or showing an uneasy situation, I’ll try to combine colors and forms and shapes that invoke that feeling. Or sometimes it’s about finding colors that create a harmony or calmness.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-10.jpg\">\u003c/p>\n\u003cp>\u003ci>We noticed a tribute to Alexander McQueen on your blog. What other creative fields inspire you?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in all creative things. I just like it when people make things. Especially something like his work, it’s perfect. There are few things you can say that about. The backwards shoes? I was blown away when I saw those. But fashion is not something that I’m fully immersed in. I like having a distance from things where I don’t fully understand them, so they can still remain magical and exotic.”\u003c/p>\n\u003cp>“I collect a lot of contemporary art, but there’s equally as much art in my collection that I’ve found at flea markets or garage sales. The things I find there are just as good as anything else that I have because somebody made them.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-25.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-8.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you collect anything else?\u003c/i>\u003c/p>\n\u003cp>“Tons of stuff. I’m like a hoarder but a bit more organized. I collect toys. We have a lot of taxidermy and artwork, books, music, and my girlfriend collects sand from different places. If I go somewhere and she’s not with me, I’ll grab a little bag of sand for her.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your paintings had a soundtrack, what would it sound like?\u003c/i>\u003c/p>\n\u003cp>“White noise.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colman-15.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard Colman’s new show, \u003cb>Something Better\u003c/b>, opens at Guerrero Gallery October 16, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "STUDIO INVASION: Catherine Ryan",
"headTitle": "STUDIO INVASION: Catherine Ryan | KQED",
"content": "\u003cp>Catherine Ryan hails from New Jersey and stayed put in Oakland after moving there to attend CCA. She creates highly textured paintings of real and imagined moments frozen in time, always with a sense of lurking darkness mixed with beautiful imagery. We paid her studio space a visit and gabbed about her love of found photos, Kodachrome, and faceless figures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cstrong>EKG:\u003c/strong> \u003cem>How did you get into using the combination of acrylic paint and charcoal?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Catherine Ryan:\u003c/strong> “It was kind of by accident; I’ve been using it for a long time. When I was in college, I made surrealist oil paintings. And then I started working bigger, and I didn’t like the way that graphite worked on canvas. I liked the way charcoal feathered into the paint and moved around the canvas. You can almost move it around like watercolor. I love the contrast, the graphic elements of acrylic paint, and the soft detail you can get with charcoal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-5.jpg\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-4.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why are you drawn to a ’70s aesthetic?\u003c/em>\u003c/p>\n\u003cp>“Probably from the materials I’ve worked with — a lot of old family photos, mainly mine, mostly from the ’70s. The colors and Kodachrome in the slides were so influential on me. I loved the way the colors looked, like a flat drab green with a really bright red. It’s always a scheme that appeals to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-14.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-15.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Tell us more about the found photos you work with.\u003c/em>\u003c/p>\n\u003cp>“I started moving away from family photos and am now doing more animals and hunters, and things like that. I’ll look through Google image search, Ebay is a great source for photos, and now there are a lot of old photo archives online. I still occasionally go through my own family photos to look for a certain positioning of people that seems interesting.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-17.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-19.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What else do you look for in the photos?\u003c/em>\u003c/p>\n\u003cp>“When I worked with family photos, I was always looking for the image that was very familiar, like the kids sitting in front of the Christmas tree. Something that was very banal because I felt like many people could relate to it, but it was also fraught with tension and memories. Even though everyone’s smiling, maybe there’s something bad going on. I don’t do a lot of facial details, so I chose iconic images that were so loaded, they could mean different things to different people. A lot of my drawings are composites of different photos, but I’m still looking for a tense moment where you’re wondering what’s going to happen next, or what happened right before that.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-2.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-11.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Is there a specific reason why you’re focusing on those types of moments?\u003c/em>\u003c/p>\n\u003cp>“I’m still exploring the themes I’m trying to get at the root of. I like the idea of making something that’s really pretty, like a pretty drawing of a bear and some people, or a really richly colored interior. But the layers of what I’m exploring have dark undertones, sort of like the contrast of the paint and the charcoal — the contrast between these beautiful things. On the surface they seem very simple and normal, but there’s always something dark underlying them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-3.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why do you choose to make your figures faceless?\u003c/em>\u003c/p>\n\u003cp>“I like the ambiguity of it and the anonymity. When I use people in my work, I want them to be unidentifiable. I don’t want you to know the emotion that would be on their faces. I want it to be conveyed through gesture, and I want them to be sort of drones — just representations of people doing things, not actual individual people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-7.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-6.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Any artists you look up to?\u003c/em>\u003c/p>\n\u003cp>“I worked with \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=925\">Bill Owens\u003c/a>, the photographer. I really like that he’s had so much success but he does things his own way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-18.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-22.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What music could best describe your work?\u003c/em>\u003c/p>\n\u003cp>“The first thing that comes to mind is Kraftwerk — something very cold and German because the people in my paintings are faceless and kind of robotic.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catherine Ryan is giving an artist talk at Timken Hall on CCA’s San Francisco campus on October 8th and is in a show, \u003ca href=\"http://alluringsubversions.tumblr.com/\"> Alluring Subversions\u003c/a> at the Oliver Art Center on the Oakland campus opening October 18th. Also catch her in a group show, Highly Contagious at \u003ca href=\"http://www.galleryhijinks.com\">Gallery Hijinks\u003c/a> through October 9th.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Catherine Ryan hails from New Jersey and stayed put in Oakland after moving there to attend CCA. She creates highly textured paintings of real and imagined moments frozen in time, always with a sense of lurking darkness mixed with beautiful imagery. We paid her studio space a visit and gabbed about her love of found photos, Kodachrome, and faceless figures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cstrong>EKG:\u003c/strong> \u003cem>How did you get into using the combination of acrylic paint and charcoal?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Catherine Ryan:\u003c/strong> “It was kind of by accident; I’ve been using it for a long time. When I was in college, I made surrealist oil paintings. And then I started working bigger, and I didn’t like the way that graphite worked on canvas. I liked the way charcoal feathered into the paint and moved around the canvas. You can almost move it around like watercolor. I love the contrast, the graphic elements of acrylic paint, and the soft detail you can get with charcoal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-5.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-4.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why are you drawn to a ’70s aesthetic?\u003c/em>\u003c/p>\n\u003cp>“Probably from the materials I’ve worked with — a lot of old family photos, mainly mine, mostly from the ’70s. The colors and Kodachrome in the slides were so influential on me. I loved the way the colors looked, like a flat drab green with a really bright red. It’s always a scheme that appeals to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-14.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-15.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Tell us more about the found photos you work with.\u003c/em>\u003c/p>\n\u003cp>“I started moving away from family photos and am now doing more animals and hunters, and things like that. I’ll look through Google image search, Ebay is a great source for photos, and now there are a lot of old photo archives online. I still occasionally go through my own family photos to look for a certain positioning of people that seems interesting.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-17.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-19.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What else do you look for in the photos?\u003c/em>\u003c/p>\n\u003cp>“When I worked with family photos, I was always looking for the image that was very familiar, like the kids sitting in front of the Christmas tree. Something that was very banal because I felt like many people could relate to it, but it was also fraught with tension and memories. Even though everyone’s smiling, maybe there’s something bad going on. I don’t do a lot of facial details, so I chose iconic images that were so loaded, they could mean different things to different people. A lot of my drawings are composites of different photos, but I’m still looking for a tense moment where you’re wondering what’s going to happen next, or what happened right before that.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-2.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-11.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Is there a specific reason why you’re focusing on those types of moments?\u003c/em>\u003c/p>\n\u003cp>“I’m still exploring the themes I’m trying to get at the root of. I like the idea of making something that’s really pretty, like a pretty drawing of a bear and some people, or a really richly colored interior. But the layers of what I’m exploring have dark undertones, sort of like the contrast of the paint and the charcoal — the contrast between these beautiful things. On the surface they seem very simple and normal, but there’s always something dark underlying them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-3.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Why do you choose to make your figures faceless?\u003c/em>\u003c/p>\n\u003cp>“I like the ambiguity of it and the anonymity. When I use people in my work, I want them to be unidentifiable. I don’t want you to know the emotion that would be on their faces. I want it to be conveyed through gesture, and I want them to be sort of drones — just representations of people doing things, not actual individual people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-7.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-6.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>Any artists you look up to?\u003c/em>\u003c/p>\n\u003cp>“I worked with \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=925\">Bill Owens\u003c/a>, the photographer. I really like that he’s had so much success but he does things his own way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-18.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cryan-22.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cem>What music could best describe your work?\u003c/em>\u003c/p>\n\u003cp>“The first thing that comes to mind is Kraftwerk — something very cold and German because the people in my paintings are faceless and kind of robotic.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catherine Ryan is giving an artist talk at Timken Hall on CCA’s San Francisco campus on October 8th and is in a show, \u003ca href=\"http://alluringsubversions.tumblr.com/\"> Alluring Subversions\u003c/a> at the Oliver Art Center on the Oakland campus opening October 18th. Also catch her in a group show, Highly Contagious at \u003ca href=\"http://www.galleryhijinks.com\">Gallery Hijinks\u003c/a> through October 9th.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hybrids are nothing new. Laundromats double as coffee shops, retail stores transform into music venues at night, and the rise of pop-up shops has helped to change our sense of the function of business in public space. Now we have the phenomenon of the apartment-gallery. In the past few years, across the Bay Area, artists and non-artists alike have opened up their doors (literally), curating dynamic shows in their private living rooms, garages, and hallways.\u003c/p>\n\u003cp>One such space is a 3000-square-foot warehouse in the Mission district. Over the past few months, five roommates — including Matthew Waldbillig, a recent graduate of the California College of the Arts MFA program — have been converting half of their new living space it into an alternative gallery. “Our goal is to debunk the antiquated notion of a place only having one allotted function,” says Waldbillig. “Much of the artwork we plan on showing collapses genres, and it makes sense to reflect that same ideology in our space.”\u003c/p>\n\u003cp>Waldbillig’s yet-unnamed space follows in the footsteps of several “living gallery spaces” that have opened within the past few years: Zughaus Gallery in Berkeley, The Spare Room Project in Bernal Heights, and Important Projects in Oakland, to name a few. Jeff Mark, one the four roommates/directors of Zughaus, believes that the Bay Area is unique in fostering a sense of support amongst young artists. “As opposed to Los Angeles or New York, the emerging art scene here doesn’t as feel cut-throat. We are trying to create an alternate creative lifestyle and community here in the Bay in which we support each other as young artists, and a major part of that is exposure.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zughaus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Zughaus Gallery\u003c/p>\n\u003cp>The biggest challenge facing these residential galleries is staying afloat financially. “We are entirely self-funded,” says Waldbillig, who is currently applying for a grant from Southern Exposure (more on that later) to help cover the gallery’s costs. Both Waldbillig and Mark name paint as their biggest cost. “You would be surprised how much of it we need,” says Waldbillig.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sarah Hotchkiss and Carey Lin are among the emerging artists whose work is currently showing at Zughaus. Hotchkiss explains, “So many young artists live and work in the Bay Area, and there simply isn’t the infrastructure to support them all. It becomes necessary to find alternative venues beyond the established places with already-full rosters.” The provisional galleries empower a DIY community. “Instead of waiting for a gallery to call you up,” continues Hotchkiss, “you make it happen yourself, and on your own terms.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/important-projects.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Important Projects\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The rising presence of these “living room galleries” may not come as a surprise. The Bay Area has long been a location that fosters alternative methods of engaging with art (the Carville Annex, ATA, and Hallway Bathroom Gallery to name a few unconventional “hybrid” spaces), and these newer residential galleries are following in a long lineage of this experimental tradition. Southern Exposure created the Alternative Exposure grant four years ago to support this expanding phenomenon, and they now receive over 160 applications a cycle, about a third for gallery spaces. “This is something to take very seriously,” says Courtney Fink, the Executive Director. “The rise of the residential art space informs the greater art community here. It creates an energy, and a lot of people are taking notice.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hybrids are nothing new. Laundromats double as coffee shops, retail stores transform into music venues at night, and the rise of pop-up shops has helped to change our sense of the function of business in public space. Now we have the phenomenon of the apartment-gallery. In the past few years, across the Bay Area, artists and non-artists alike have opened up their doors (literally), curating dynamic shows in their private living rooms, garages, and hallways.\u003c/p>\n\u003cp>One such space is a 3000-square-foot warehouse in the Mission district. Over the past few months, five roommates — including Matthew Waldbillig, a recent graduate of the California College of the Arts MFA program — have been converting half of their new living space it into an alternative gallery. “Our goal is to debunk the antiquated notion of a place only having one allotted function,” says Waldbillig. “Much of the artwork we plan on showing collapses genres, and it makes sense to reflect that same ideology in our space.”\u003c/p>\n\u003cp>Waldbillig’s yet-unnamed space follows in the footsteps of several “living gallery spaces” that have opened within the past few years: Zughaus Gallery in Berkeley, The Spare Room Project in Bernal Heights, and Important Projects in Oakland, to name a few. Jeff Mark, one the four roommates/directors of Zughaus, believes that the Bay Area is unique in fostering a sense of support amongst young artists. “As opposed to Los Angeles or New York, the emerging art scene here doesn’t as feel cut-throat. We are trying to create an alternate creative lifestyle and community here in the Bay in which we support each other as young artists, and a major part of that is exposure.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zughaus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Zughaus Gallery\u003c/p>\n\u003cp>The biggest challenge facing these residential galleries is staying afloat financially. “We are entirely self-funded,” says Waldbillig, who is currently applying for a grant from Southern Exposure (more on that later) to help cover the gallery’s costs. Both Waldbillig and Mark name paint as their biggest cost. “You would be surprised how much of it we need,” says Waldbillig.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the hot, hot, hot month of July, I traveled to Spain on an art-viewing excursion. The following is a report of my sightings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museodelprado.es/en/\">\u003cb>Museo Nacional del Prado\u003c/b>\u003c/a>, Madrid\u003cbr> A natural first stop in Madrid, the Prado is Spain’s Louvre and holds an extensive collection of European art, much of it from the Royal Collection. Among the most prized pieces are Velásquez’s \u003cb>Las Meninas\u003c/b>, which has been reinterpreted by many artists, most notably Picasso, as you will read later in this report. Also well known and on my list of art to see up close was \u003cb>The Garden of Earthly Delights\u003c/b>, painted by Hieronymus Bosch in the late 15th/early 16th century. It’s surreal and seemed so ahead of its time. It was also surrounded by swarms of tourists just like when I saw the \u003cb>Mona Lisa\u003c/b> at the Louvre.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museoreinasofia.es/index.html\">\u003cb>Reina Sofia\u003c/b>\u003c/a>, Madrid\u003cbr> Next was the contemporary art museum for a face-to-face meeting with Picasso’s \u003cb>Guernica\u003c/b>, his famous work about a Spanish Civil War bombing. Several more Picasso paintings and sculptures live in the museum, but my favorite discovery was an astonishing exhibition of paintings filled with simple lines, patterns, and animals by Martín Ramírez. I was immediately drawn to them, but couldn’t spend enough time looking at them. It wasn’t until later that I learned Ramírez had schizophrenia and spent most of his life institutionalized near Sacramento.\u003c/p>\n\u003cp>\u003cb>Streets of Spain\u003c/b>\u003cbr> The public art in Spain is impressive and makes me wonder why most of ours is so tame. An unusual, graphic red bridge sits beside the next museum on my itinerary in Bilbao, train stations held massive artworks, and graffiti and street art were clearly welcomed — many legal walls line the city streets. I met up with my friend and KQED’s Art Director, Zaldy Serrano in Madrid; we agreed the graf styles looked very tight and, as he said, “like they didn’t have to hurry up.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-graf.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ca href=\"http://www.guggenheim.org/bilbao\">\u003cb>Guggenheim Museum\u003c/b>\u003c/a>, Bilbao\u003cbr>This museum is a stunner. The Guggenheims know how to get down. Their Bilbao branch has Frank Gehry’s curvy metal architecture, which he compared to a crate of loose bottles, and one of Louise Bourgeois’s largest spider sculptures crawling towards the river outside. Her spiders are about the childhood fears grown-ups are afraid to express — a giant spider rising out of a river was doubly terrifying and awesome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-spider.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>My hotel was across the street from the museum and I nearly fainted when I saw Jeff Koon’s \u003cb>Puppy\u003c/b> towering outside the back door. I’d heard of this enormous Terrier made of flowers and knew he’d been exhibited in Bilbao, but had no idea that the locals loved him so dearly, they’d adopted him permanently. Judging from the museum shop’s postcards, I think \u003cb>Puppy\u003c/b> was at his best, most flourishing, colorful state this month. He looked greener in the past. That dog was only the beginning. A two-story Jenny Holzer LCD text installation and \u003cb>The Matter of Time\u003c/b>, the most amazing Richard Serra steel sculpture I’ve ever wound my way through, blew my mind on the first floor, along with classy galleries of important works by Mark Rothko, Robert Motherwell, Andy Warhol, Cy Twombly, Yves Klein, and James Rosenquist, among others. There was a Robert Rauschenburg exhibition of nearly a hundred found metal collage sculptures called \u003cb>Gluts\u003c/b> (the delicate \u003cb>Poached Summer Glut\u003c/b> was lovely), and a solo exhibition of work by Anish Kapoor, another mind bender.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-puppy.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One large gallery in Kapoor’s show had a high ceiling and held a cannon and what looked like an industrial preparation area. The corner of the room was obliterated with a bloody, chunky, red substance, splattered maybe twenty feet high. I couldn’t look at it at first. I didn’t want to. It looked horrific, like someone murdered The B.F.G. in there. But I sucked it up and entered the gallery at just the right time, when the performance took place. A jump-suited man ceremoniously loaded a bucket-sized red wax bullet into the cannon, took a long pause for dramatic effect, and launched it, SPLAT, into the wall with the rest of the goop. It stuck, and then crumbled off like its predecessors, adding to the pile on the floor. Next door, a yellow vortex filled one huge wall and made my eyes cross. Even standing right next to it, I thought it was painted flat with shading but it was, in fact, concave. In the next room, a somewhat similar, white, convex \u003cb>Pregnant\u003c/b> bump protruded from the wall. If you stared at it at a certain angle, it disappeared. Kapoor has an acute knack for messing with one’s perception. He also seems to be living out one or more of Freud’s psychosexual stages. Near the pregnant bump was a graphically carved lady part coated in rich red pigment powder, and in the next room, endless piles of concrete poo on palettes created a maze through the gallery.\u003c/p>\n\u003cp>This is Kapoor’s latest work. He and a friend developed what he describes as a digital printer of 3D objects. It seemed more like a food processor that can handle concrete, since the output resembled the piles of thick spaghetti coils that come out of a Play-Dough Fun Factory. I overheard someone saying it looked like specimens of the end results of eating various foods, and I had to agree. Despite the fact that his work makes me uneasy, Kapoor’s show was clearly a stand out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fundaciomiro-bcn.org/\">\u003cb>Fundació Joan Miró\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr> Joan Miró had a hand in creating this museum before his death in 1983. It houses many of his works, including paintings, sculptures, ceramics, and even huge tapestries. Since I’m typically drawn to the newest contemporary work, most memorable for me at this location was a temporary exhibition of video works by Pippilotti Rist, who is nicknamed after Pippi Longstocking. Entering the darkened galleries, waiting for my eyes to adjust, I stumbled into a room filled with people laying on the floor staring up at amorphous screens playing dream-like videos that are hard to remember in detail. I remember seeing a woman sort of floating and drifting in water, eating flowers — strange visions that appear as a dream. Rist is interested in how we perceive imagery when our muscles are relaxed and collaborated with a musician for the videos’ soundtracks, which added to their mesmerizing effect. She also created carefully-planned pillows and carpeting in specific color palettes for her viewers. I’m a big fan of artists who get people to lay on the floor on a hot summer day.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museupicasso.bcn.es/\">\u003cb>Museu Picasso\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr>Ending with another mandatory stop (according to travel books) the Picasso Museum is in Barcelona’s Barri Gótic, an old town cobblestone neighborhood. Nestled into the skinny streets, the museum begins with Picasso’s illustrative pieces, which I found most interesting, along with lots of his early impressionist work, including portraits of his parents he made at age 16. There were two galleries filled with his many cubist interpretations of Velasquez’s \u003cb>Las Meninas\u003c/b> which were a fitting, rounded-out end to my whirlwind tour of Spain’s art and cultural history.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Oh yeah, and on my last night in town, Spain won a big soccer match or something.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hot, hot, hot month of July, I traveled to Spain on an art-viewing excursion. The following is a report of my sightings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museodelprado.es/en/\">\u003cb>Museo Nacional del Prado\u003c/b>\u003c/a>, Madrid\u003cbr> A natural first stop in Madrid, the Prado is Spain’s Louvre and holds an extensive collection of European art, much of it from the Royal Collection. Among the most prized pieces are Velásquez’s \u003cb>Las Meninas\u003c/b>, which has been reinterpreted by many artists, most notably Picasso, as you will read later in this report. Also well known and on my list of art to see up close was \u003cb>The Garden of Earthly Delights\u003c/b>, painted by Hieronymus Bosch in the late 15th/early 16th century. It’s surreal and seemed so ahead of its time. It was also surrounded by swarms of tourists just like when I saw the \u003cb>Mona Lisa\u003c/b> at the Louvre.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museoreinasofia.es/index.html\">\u003cb>Reina Sofia\u003c/b>\u003c/a>, Madrid\u003cbr> Next was the contemporary art museum for a face-to-face meeting with Picasso’s \u003cb>Guernica\u003c/b>, his famous work about a Spanish Civil War bombing. Several more Picasso paintings and sculptures live in the museum, but my favorite discovery was an astonishing exhibition of paintings filled with simple lines, patterns, and animals by Martín Ramírez. I was immediately drawn to them, but couldn’t spend enough time looking at them. It wasn’t until later that I learned Ramírez had schizophrenia and spent most of his life institutionalized near Sacramento.\u003c/p>\n\u003cp>\u003cb>Streets of Spain\u003c/b>\u003cbr> The public art in Spain is impressive and makes me wonder why most of ours is so tame. An unusual, graphic red bridge sits beside the next museum on my itinerary in Bilbao, train stations held massive artworks, and graffiti and street art were clearly welcomed — many legal walls line the city streets. I met up with my friend and KQED’s Art Director, Zaldy Serrano in Madrid; we agreed the graf styles looked very tight and, as he said, “like they didn’t have to hurry up.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-graf.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ca href=\"http://www.guggenheim.org/bilbao\">\u003cb>Guggenheim Museum\u003c/b>\u003c/a>, Bilbao\u003cbr>This museum is a stunner. The Guggenheims know how to get down. Their Bilbao branch has Frank Gehry’s curvy metal architecture, which he compared to a crate of loose bottles, and one of Louise Bourgeois’s largest spider sculptures crawling towards the river outside. Her spiders are about the childhood fears grown-ups are afraid to express — a giant spider rising out of a river was doubly terrifying and awesome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-spider.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>My hotel was across the street from the museum and I nearly fainted when I saw Jeff Koon’s \u003cb>Puppy\u003c/b> towering outside the back door. I’d heard of this enormous Terrier made of flowers and knew he’d been exhibited in Bilbao, but had no idea that the locals loved him so dearly, they’d adopted him permanently. Judging from the museum shop’s postcards, I think \u003cb>Puppy\u003c/b> was at his best, most flourishing, colorful state this month. He looked greener in the past. That dog was only the beginning. A two-story Jenny Holzer LCD text installation and \u003cb>The Matter of Time\u003c/b>, the most amazing Richard Serra steel sculpture I’ve ever wound my way through, blew my mind on the first floor, along with classy galleries of important works by Mark Rothko, Robert Motherwell, Andy Warhol, Cy Twombly, Yves Klein, and James Rosenquist, among others. There was a Robert Rauschenburg exhibition of nearly a hundred found metal collage sculptures called \u003cb>Gluts\u003c/b> (the delicate \u003cb>Poached Summer Glut\u003c/b> was lovely), and a solo exhibition of work by Anish Kapoor, another mind bender.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spain-puppy.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One large gallery in Kapoor’s show had a high ceiling and held a cannon and what looked like an industrial preparation area. The corner of the room was obliterated with a bloody, chunky, red substance, splattered maybe twenty feet high. I couldn’t look at it at first. I didn’t want to. It looked horrific, like someone murdered The B.F.G. in there. But I sucked it up and entered the gallery at just the right time, when the performance took place. A jump-suited man ceremoniously loaded a bucket-sized red wax bullet into the cannon, took a long pause for dramatic effect, and launched it, SPLAT, into the wall with the rest of the goop. It stuck, and then crumbled off like its predecessors, adding to the pile on the floor. Next door, a yellow vortex filled one huge wall and made my eyes cross. Even standing right next to it, I thought it was painted flat with shading but it was, in fact, concave. In the next room, a somewhat similar, white, convex \u003cb>Pregnant\u003c/b> bump protruded from the wall. If you stared at it at a certain angle, it disappeared. Kapoor has an acute knack for messing with one’s perception. He also seems to be living out one or more of Freud’s psychosexual stages. Near the pregnant bump was a graphically carved lady part coated in rich red pigment powder, and in the next room, endless piles of concrete poo on palettes created a maze through the gallery.\u003c/p>\n\u003cp>This is Kapoor’s latest work. He and a friend developed what he describes as a digital printer of 3D objects. It seemed more like a food processor that can handle concrete, since the output resembled the piles of thick spaghetti coils that come out of a Play-Dough Fun Factory. I overheard someone saying it looked like specimens of the end results of eating various foods, and I had to agree. Despite the fact that his work makes me uneasy, Kapoor’s show was clearly a stand out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fundaciomiro-bcn.org/\">\u003cb>Fundació Joan Miró\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr> Joan Miró had a hand in creating this museum before his death in 1983. It houses many of his works, including paintings, sculptures, ceramics, and even huge tapestries. Since I’m typically drawn to the newest contemporary work, most memorable for me at this location was a temporary exhibition of video works by Pippilotti Rist, who is nicknamed after Pippi Longstocking. Entering the darkened galleries, waiting for my eyes to adjust, I stumbled into a room filled with people laying on the floor staring up at amorphous screens playing dream-like videos that are hard to remember in detail. I remember seeing a woman sort of floating and drifting in water, eating flowers — strange visions that appear as a dream. Rist is interested in how we perceive imagery when our muscles are relaxed and collaborated with a musician for the videos’ soundtracks, which added to their mesmerizing effect. She also created carefully-planned pillows and carpeting in specific color palettes for her viewers. I’m a big fan of artists who get people to lay on the floor on a hot summer day.\u003c/p>\n\u003cp>\u003ca href=\"http://www.museupicasso.bcn.es/\">\u003cb>Museu Picasso\u003c/b>\u003c/a>, Barcelona, Catalonia\u003cbr>Ending with another mandatory stop (according to travel books) the Picasso Museum is in Barcelona’s Barri Gótic, an old town cobblestone neighborhood. Nestled into the skinny streets, the museum begins with Picasso’s illustrative pieces, which I found most interesting, along with lots of his early impressionist work, including portraits of his parents he made at age 16. There were two galleries filled with his many cubist interpretations of Velasquez’s \u003cb>Las Meninas\u003c/b> which were a fitting, rounded-out end to my whirlwind tour of Spain’s art and cultural history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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