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"content": "\u003cp>Though catchy, the title \u003cb>Calder to Warhol\u003c/b> erroneously suggests that this diverse exhibition is either chronologically bounded by the careers of Alexander Calder and Andy Warhol (1925-1987) or stylistically encompassed by their respective works; it is neither. However, this first exhibition at SFMOMA of the recently incorporated Fisher Collection delivers a representative overview of the impressive 1,100 artworks that GAP founder Donald Fisher and his wife Doris amassed over their many years collecting together. Obviously, not every artist is included, and sadly many of the more recent and challenging acquisitions are omitted. But, the show does effectively summarize both the Fisher’s eclectic taste and their unwavering commitment to a number of important artists. This overview does not make the most cohesive show, but it does offer a unique window into Doris and Donald Fisher’s personal collecting vision — a vision that, as the collection is incorporated into SFMOMA’s future programming, will almost certainly be replaced by the museum’s own institutional narrative.\u003c/p>\n\u003cp>One thing I particularly like about this exhibition is that it includes works by slightly less well-known artists as well as those thoroughly canonized. In one room a deep red wooden wall sculpture by Robert Therrien unexpectedly complements a mesh, wood, and tar sculpture by Martin Puryear; the colorful dense angularity of the one setting off the dark hollow presence of the other. The show also has not one Jackson Pollack in it, but includes a colossal painting by Lee Krasner. Krasner’s piece possesses so much of the energy and effortless dynamism of Pollack’s best works that it materially challenges the popular conception of their creative relationship. Krasner’s painting hangs across from a wooden Mark di Suervo sculpture that wonderfully echoes and expands on Krasner’s organically angular painted flourishes.\u003c/p>\n\u003cp>Such revelatory surprises exist throughout the show, but the heart of the Fisher’s collection, and the core of this Calder to Warhol introductory exhibition, is the work of the artists that Doris and Donald Fisher collected in depth. Reflecting this commitment, many of these artists have received designated galleries for their work. Obviously, these include Alexander Calder and Andy Warhol; but also, Agnes Martin, George Baselitz, Cy Twombly, Ellsworth Kelly, Anselm Kiefer, Philip Guston, Richard Serra, Frank Stella, and Chuck Close. Since several core parts of the Fisher’s collection overlap SFMOMA’s own holdings, several of these galleries feel like déjà vu. The Phillip Guston gallery, in particular, is remarkably similar to the Guston gallery included in the previous SFMOMA \u003cb>Focus On Artists\u003c/b> show that this exhibition displaced.\u003c/p>\n\u003cp>The uppermost floor of the exhibition opens with an assortment of works by Alexander Calder. The subsequent galleries expand various aspects present in Calder’s bright, touching, and playful pieces. These galleries include Ellsworth Kelly’s colorful paintings, Richard Serra’s precarious sculptures, Gerhard Richter’s masterful variations, Anselm Kiefer’s emotive works, and a smattering of minimalists’ structural propositions. The upper floor is, in one way, a treatise on Calder’s far-reaching influence. In and of itself, it constitutes a most lovely show.\u003c/p>\n\u003cp>While there is a tranquil tone on the exhibition’s upper floor, it is not without unexpected intersections. The most striking juxtaposes German painters Anselm Kiefer and Gerhard Richter. Richter, a stylistic chameleon is nearly impossible to pin down. His various virtuosic bodies of work are arresting and often quite moving, but remain largely cool and analytical, revealing little of Richter himself. Kiefer, on the other hand, can’t help being Kiefer. Both his paintings and his leaden plane sculpture exhibit a consistent visceral materiality and brooding aesthetic. Unlike the more detached works by Richter, Kiefer’s pieces all exude his personally felt cultural heartache about the horrors enacted during the Second World War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition’s lower floor is less unified. Its warren-like galleries are packed with pieces that sometimes enhance each other and sometimes do not. Though diverse, the floor is curiously anchored by the two most heavily represented artists in the exhibition. Surprisingly, these are not Alexander Calder and Andy Warhol, but rather Andy Warhol and Chuck Close, each with two large galleries dedicated to their work. Located next to each other, these four adjoining galleries create a strange dialogue. Three of the galleries — one of Warhol’s and both of Close’s — are filled with large-scale images of individual’s faces. This formal similarity is striking and it is entirely unclear from the presented information what significance this connection holds. It could be that Doris and Donald just liked headshot portraits. Or, collecting the work of one artist led them to become interested in the correlating work of the other. The connection remains unclear, but the multiple galleries of oversized and mostly recognizable faces, coupled with Warhol’s other full-bodied portraits, create a pervasive tone that makes the non-figurative works included on the lower floor seem out of place.\u003c/p>\n\u003cp>Though more traditional works dominate the show, it contains a number of notable exceptions. There is an enthralling multi-media William Kentridge installation and another contemporary video work that have each received their own darkened exhibition spaces. A number of sculptures, including Calder’s, break refreshingly from tradition, and a few, more conceptually based pieces, like Sophie Calle’s text and photographic work “Autobiographical Stories (The Bed),” combine disparate media to great effect.\u003c/p>\n\u003cp>The artworks of the Fischer Collection, though consistently blue chip, range all over the map. However, taken together the works in this show make a unified sort of sense. Spanning numerous decades, and a host of different styles, the collected works evidence certain consistent predilections. Intensely saturated colors are present throughout, defining works by Calder, Warhol, and Kelly, and surfacing distinctly in pieces by Stella, Close, Baldessari, and Baselitz. Brilliant color is not the only connecting thread. The dull, metallic surfaces in John Chamberlain’s surprisingly colorless crumpled steel sculptures strike up an unexpected conversation not only with Richard Serra’s balanced metal slabs and Anselm Kiefer’s lead plane, but also with the sequential galvanized steel boxes of Donald Judd’s wall sculpture. Such connective threads abound and it is a pleasure to note these overlapping thematic trajectories while moving through the exhibition.\u003c/p>\n\u003cp>The Fisher Collection is a substantial addition to SFMoMA’s already impressive holdings. Collectively valued into the hundreds of millions, the collection bolsters areas of the museum’s existing collection and adds significant works by artists previously unrepresented. The scale of this addition is nearly unprecedented, and thankfully its 100-year loan comes with fewer strings than the similar deal Eli Broad struck with LACMA in Los Angles. SFMoMA’s planned expansion to accommodate the collection is still several years away, but this initial exhibition offers an exciting glimpse at the diverse works that will enrich the museum’s programming for years to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Calder to Warhol: Introducing the Fisher Collection\u003c/b> runs through September 19, 2010 at the San Francisco Museum of Modern Art. For \u003ca href=\"http://www.sfmoma.org/exhibitions/412\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though catchy, the title \u003cb>Calder to Warhol\u003c/b> erroneously suggests that this diverse exhibition is either chronologically bounded by the careers of Alexander Calder and Andy Warhol (1925-1987) or stylistically encompassed by their respective works; it is neither. However, this first exhibition at SFMOMA of the recently incorporated Fisher Collection delivers a representative overview of the impressive 1,100 artworks that GAP founder Donald Fisher and his wife Doris amassed over their many years collecting together. Obviously, not every artist is included, and sadly many of the more recent and challenging acquisitions are omitted. But, the show does effectively summarize both the Fisher’s eclectic taste and their unwavering commitment to a number of important artists. This overview does not make the most cohesive show, but it does offer a unique window into Doris and Donald Fisher’s personal collecting vision — a vision that, as the collection is incorporated into SFMOMA’s future programming, will almost certainly be replaced by the museum’s own institutional narrative.\u003c/p>\n\u003cp>One thing I particularly like about this exhibition is that it includes works by slightly less well-known artists as well as those thoroughly canonized. In one room a deep red wooden wall sculpture by Robert Therrien unexpectedly complements a mesh, wood, and tar sculpture by Martin Puryear; the colorful dense angularity of the one setting off the dark hollow presence of the other. The show also has not one Jackson Pollack in it, but includes a colossal painting by Lee Krasner. Krasner’s piece possesses so much of the energy and effortless dynamism of Pollack’s best works that it materially challenges the popular conception of their creative relationship. Krasner’s painting hangs across from a wooden Mark di Suervo sculpture that wonderfully echoes and expands on Krasner’s organically angular painted flourishes.\u003c/p>\n\u003cp>Such revelatory surprises exist throughout the show, but the heart of the Fisher’s collection, and the core of this Calder to Warhol introductory exhibition, is the work of the artists that Doris and Donald Fisher collected in depth. Reflecting this commitment, many of these artists have received designated galleries for their work. Obviously, these include Alexander Calder and Andy Warhol; but also, Agnes Martin, George Baselitz, Cy Twombly, Ellsworth Kelly, Anselm Kiefer, Philip Guston, Richard Serra, Frank Stella, and Chuck Close. Since several core parts of the Fisher’s collection overlap SFMOMA’s own holdings, several of these galleries feel like déjà vu. The Phillip Guston gallery, in particular, is remarkably similar to the Guston gallery included in the previous SFMOMA \u003cb>Focus On Artists\u003c/b> show that this exhibition displaced.\u003c/p>\n\u003cp>The uppermost floor of the exhibition opens with an assortment of works by Alexander Calder. The subsequent galleries expand various aspects present in Calder’s bright, touching, and playful pieces. These galleries include Ellsworth Kelly’s colorful paintings, Richard Serra’s precarious sculptures, Gerhard Richter’s masterful variations, Anselm Kiefer’s emotive works, and a smattering of minimalists’ structural propositions. The upper floor is, in one way, a treatise on Calder’s far-reaching influence. In and of itself, it constitutes a most lovely show.\u003c/p>\n\u003cp>While there is a tranquil tone on the exhibition’s upper floor, it is not without unexpected intersections. The most striking juxtaposes German painters Anselm Kiefer and Gerhard Richter. Richter, a stylistic chameleon is nearly impossible to pin down. His various virtuosic bodies of work are arresting and often quite moving, but remain largely cool and analytical, revealing little of Richter himself. Kiefer, on the other hand, can’t help being Kiefer. Both his paintings and his leaden plane sculpture exhibit a consistent visceral materiality and brooding aesthetic. Unlike the more detached works by Richter, Kiefer’s pieces all exude his personally felt cultural heartache about the horrors enacted during the Second World War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition’s lower floor is less unified. Its warren-like galleries are packed with pieces that sometimes enhance each other and sometimes do not. Though diverse, the floor is curiously anchored by the two most heavily represented artists in the exhibition. Surprisingly, these are not Alexander Calder and Andy Warhol, but rather Andy Warhol and Chuck Close, each with two large galleries dedicated to their work. Located next to each other, these four adjoining galleries create a strange dialogue. Three of the galleries — one of Warhol’s and both of Close’s — are filled with large-scale images of individual’s faces. This formal similarity is striking and it is entirely unclear from the presented information what significance this connection holds. It could be that Doris and Donald just liked headshot portraits. Or, collecting the work of one artist led them to become interested in the correlating work of the other. The connection remains unclear, but the multiple galleries of oversized and mostly recognizable faces, coupled with Warhol’s other full-bodied portraits, create a pervasive tone that makes the non-figurative works included on the lower floor seem out of place.\u003c/p>\n\u003cp>Though more traditional works dominate the show, it contains a number of notable exceptions. There is an enthralling multi-media William Kentridge installation and another contemporary video work that have each received their own darkened exhibition spaces. A number of sculptures, including Calder’s, break refreshingly from tradition, and a few, more conceptually based pieces, like Sophie Calle’s text and photographic work “Autobiographical Stories (The Bed),” combine disparate media to great effect.\u003c/p>\n\u003cp>The artworks of the Fischer Collection, though consistently blue chip, range all over the map. However, taken together the works in this show make a unified sort of sense. Spanning numerous decades, and a host of different styles, the collected works evidence certain consistent predilections. Intensely saturated colors are present throughout, defining works by Calder, Warhol, and Kelly, and surfacing distinctly in pieces by Stella, Close, Baldessari, and Baselitz. Brilliant color is not the only connecting thread. The dull, metallic surfaces in John Chamberlain’s surprisingly colorless crumpled steel sculptures strike up an unexpected conversation not only with Richard Serra’s balanced metal slabs and Anselm Kiefer’s lead plane, but also with the sequential galvanized steel boxes of Donald Judd’s wall sculpture. Such connective threads abound and it is a pleasure to note these overlapping thematic trajectories while moving through the exhibition.\u003c/p>\n\u003cp>The Fisher Collection is a substantial addition to SFMoMA’s already impressive holdings. Collectively valued into the hundreds of millions, the collection bolsters areas of the museum’s existing collection and adds significant works by artists previously unrepresented. The scale of this addition is nearly unprecedented, and thankfully its 100-year loan comes with fewer strings than the similar deal Eli Broad struck with LACMA in Los Angles. SFMoMA’s planned expansion to accommodate the collection is still several years away, but this initial exhibition offers an exciting glimpse at the diverse works that will enrich the museum’s programming for years to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Calder to Warhol: Introducing the Fisher Collection\u003c/b> runs through September 19, 2010 at the San Francisco Museum of Modern Art. For \u003ca href=\"http://www.sfmoma.org/exhibitions/412\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With apologies to the New Riders of the Purple Sage, every year along about this time it all goes flat, which is to say that every summer for the past dozen or so, a non-profit group called The Rock Poster Society (TRPS) has hosted \u003cb>Rock Art By the Bay\u003c/b>, an exhibition of graphic art, illustrations, and collages by some of the most acclaimed rock-poster artists on the West Coast. Frequently held at Fort Mason, the show allows the general public to meet these artists and buy limited edition, signed rock posters from them directly. Or you can just look; either way, getting in the door is free.\u003c/p>\n\u003cp>This year, TRPS has teamed up with another non-profit, the American Poster Institute (API) of Austin, Texas, to present \u003cb>Flatstock 25 — By the Bay\u003c/b>. Held on Saturday, July 10, 2010, from 10am to 6pm at the Hall of Flowers in Golden Gate Park, the show is certain to be the rock poster event of the summer.\u003c/p>\n\u003cp>Since the first \u003cb>Flatstock\u003c/b> in San Francisco in 2002, the changing exhibition has been produced 24 times in Austin (it’s become a fixture at South By Southwest), Chicago, Seattle (ditto at Bumbershoot), and Hamburg. This silver anniversary show is API’s first trip back to the Bay Area where it all began.\u003c/p>\n\u003cp>Among the artists who will be exhibiting in San Francisco are Flatstock co-founders Geoff Peveto and Frank Kozik, who has made a name for himself in recent years designing collectible toys for Kidrobot (his Dunnies are usually the ones wearing a scowl and puffing a cigarette).\u003c/p>\n\u003cp>Many of the \u003cb>Flatstock\u003c/b> artists participating in the show are sure to design special posters just for the event. One who already has is New York City’s David Welker, a visual storyteller whose credits include a lushly surreal album cover for Phish. His obsessively detailed, black-and-white poster for this show features a hairy, bird-like creature screen printing a poster — screen printing is the medium of choice for many poster artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Representing the West Coast and TRPS is Carolyn Ferris, whose loose, psychedelic, red-and-purple mermaids floating amid flowers and leaves could not be more different from Welker’s singular illustration. Also on hand will be Mark Spusta, who was selected to create a poster for TRPS in 2008, and Gary Houston of Voodoo Catbox, whose 2009 TRPS poster freely riffed on one of the most famous images in rock, Rick Griffin’s flying eyeball, which was inspired by Von Dutch and used by Griffin in 1968 to advertise a Jimi Hendrix concert at the Fillmore and Winterland.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Also on hand for \u003cb>Flatstock 25 – By the Bay\u003c/b> will be Bay Area favorites Chuck Sperry, Chris Shaw, Christopher Peterson, Stanley Mouse, David Singer, Lee Conklin, and Randy Tuten, as well as Southern California masters Scrojo and John Van Hamersveld.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flatstock 25 — By the Bay\u003c/b> is July 10, 2010 at the Hall of Flowers in Golden Gate Park. For \u003ca href=\"http://trps.org/upcoming-events.html\">more information\u003c/a> visit trps.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With apologies to the New Riders of the Purple Sage, every year along about this time it all goes flat, which is to say that every summer for the past dozen or so, a non-profit group called The Rock Poster Society (TRPS) has hosted \u003cb>Rock Art By the Bay\u003c/b>, an exhibition of graphic art, illustrations, and collages by some of the most acclaimed rock-poster artists on the West Coast. Frequently held at Fort Mason, the show allows the general public to meet these artists and buy limited edition, signed rock posters from them directly. Or you can just look; either way, getting in the door is free.\u003c/p>\n\u003cp>This year, TRPS has teamed up with another non-profit, the American Poster Institute (API) of Austin, Texas, to present \u003cb>Flatstock 25 — By the Bay\u003c/b>. Held on Saturday, July 10, 2010, from 10am to 6pm at the Hall of Flowers in Golden Gate Park, the show is certain to be the rock poster event of the summer.\u003c/p>\n\u003cp>Since the first \u003cb>Flatstock\u003c/b> in San Francisco in 2002, the changing exhibition has been produced 24 times in Austin (it’s become a fixture at South By Southwest), Chicago, Seattle (ditto at Bumbershoot), and Hamburg. This silver anniversary show is API’s first trip back to the Bay Area where it all began.\u003c/p>\n\u003cp>Among the artists who will be exhibiting in San Francisco are Flatstock co-founders Geoff Peveto and Frank Kozik, who has made a name for himself in recent years designing collectible toys for Kidrobot (his Dunnies are usually the ones wearing a scowl and puffing a cigarette).\u003c/p>\n\u003cp>Many of the \u003cb>Flatstock\u003c/b> artists participating in the show are sure to design special posters just for the event. One who already has is New York City’s David Welker, a visual storyteller whose credits include a lushly surreal album cover for Phish. His obsessively detailed, black-and-white poster for this show features a hairy, bird-like creature screen printing a poster — screen printing is the medium of choice for many poster artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Representing the West Coast and TRPS is Carolyn Ferris, whose loose, psychedelic, red-and-purple mermaids floating amid flowers and leaves could not be more different from Welker’s singular illustration. Also on hand will be Mark Spusta, who was selected to create a poster for TRPS in 2008, and Gary Houston of Voodoo Catbox, whose 2009 TRPS poster freely riffed on one of the most famous images in rock, Rick Griffin’s flying eyeball, which was inspired by Von Dutch and used by Griffin in 1968 to advertise a Jimi Hendrix concert at the Fillmore and Winterland.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/flatstock-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Also on hand for \u003cb>Flatstock 25 – By the Bay\u003c/b> will be Bay Area favorites Chuck Sperry, Chris Shaw, Christopher Peterson, Stanley Mouse, David Singer, Lee Conklin, and Randy Tuten, as well as Southern California masters Scrojo and John Van Hamersveld.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flatstock 25 — By the Bay\u003c/b> is July 10, 2010 at the Hall of Flowers in Golden Gate Park. For \u003ca href=\"http://trps.org/upcoming-events.html\">more information\u003c/a> visit trps.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What would you do if someone asked you to create a project based around the theme of time capsules and handed you a budget of $2000? In continuation of its 40th anniversary celebration, the San Francisco Arts Commission Gallery asked a group of artists exactly this, and the resulting exhibit, \u003ca href=\"http://www.sfartscommission.org/gallery/2010/now-and-when/\">Now & When\u003c/a>, consisting of ten newly commissioned pieces, is both entertaining and suggestive. Documenting a moment is a tricky business, an exercise in subjectivity, and the show’s strength is that it consists of projects that address this without being too serious.\u003c/p>\n\u003cp>In \u003cb>Long Shot: Dining, Labor & Ponies\u003c/b>, for instance, Packard Jennings takes a group of friends — other conceptual artists — out for a very expensive dinner, wherein the idea of time capsules is discussed and proposals for projects are made, including investing in a group IRA. In true conceptual form, it’s the documentation that ends up on display, including the bill for dinner. Viewers can choose to watch or read; the whole thing was video-taped, transcribed, and compiled into a document titled “The Invisible Labor of Contemporary Art.” While sometimes I find this technique tedious, in the case of \u003cb>Long Shot\u003c/b>, the tongue-in-cheek humor keeps the piece fresh.\u003c/p>\n\u003cp>While much of the work in the show involves a similar combination of photography, still objects, and video, \u003ca href=\"http://www.pochanostra.com/\">Guillermo Gómez-Peña’s\u003c/a> \u003cb>The Mex Files\u003c/b> is notable for its absence of images. To experience the piece, you must enter a small room, painted orange-red and separated from the rest of the exhibit by a black curtain. The room is big enough for two chairs, which face each other at a distance of only a few feet. Next to the chairs is a small table, on top of which sit an empty bottle of tequila and a shot glass, left over from the opening night. A sound recording of Gómez-Peña reading texts about some of the more important moments in his life plays continuously. Gómez-Peña’s insightful humor and eroticism, in combination with the architecture of the space, create the feeling of an intimate ceremony, and leave me thinking that storytelling had to have been the original time capsule.\u003c/p>\n\u003cp>Perhaps the most poignant example of the subjectivity inherent in any form of documentation, however, is Gay Outlaw and Bob Schmitz’s piece \u003cb>Do Not Enter (Angus’s Room)\u003c/b>. For \u003cb>Do Not Enter\u003c/b>, the artists obsessively engaged the parental impulse to arrest the speed of childhood by photographing every last object in their nine-year-old son’s room, creating a catalog of the resulting images. Some of these images have been reprinted at their original scale, including the pattern of glow-in-the-dark stars on Angus’s wall. The catalog is also available for perusal in book form, but the heart of \u003cb>Do Not Enter\u003c/b> is a large mobile on which dangle replications of Angus’s most precious objects at various scales, including Yu-Gi-Oh! cards, a baseball and a super-sized Lego-head.\u003c/p>\n\u003cp>The plan is to pack \u003cb>Do Not Enter\u003c/b> away and show it again in 40 years, and it is this piece of information that most sums up \u003cb>Now & When\u003c/b>: rather than saving the actual contents of Angus’s room, it will be Outlaw and Schmitz’s catalogue and mobile that stand in for time’s detritus. No matter how much energy we put into accurately capturing a moment, ultimately all we are left with are our own interpretations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Now & When\u003c/b> is on display at the San Francisco Arts Commission Gallery until September 4, 2010. Guillermo Gómez-Peña will be giving personal, one-on-one performances of his piece on July 15, 2010, from 6 – 8pm. For \u003ca href=\"http://www.sfartscommission.org/gallery/\">more information\u003c/a> visit sfartscommission.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would you do if someone asked you to create a project based around the theme of time capsules and handed you a budget of $2000? In continuation of its 40th anniversary celebration, the San Francisco Arts Commission Gallery asked a group of artists exactly this, and the resulting exhibit, \u003ca href=\"http://www.sfartscommission.org/gallery/2010/now-and-when/\">Now & When\u003c/a>, consisting of ten newly commissioned pieces, is both entertaining and suggestive. Documenting a moment is a tricky business, an exercise in subjectivity, and the show’s strength is that it consists of projects that address this without being too serious.\u003c/p>\n\u003cp>In \u003cb>Long Shot: Dining, Labor & Ponies\u003c/b>, for instance, Packard Jennings takes a group of friends — other conceptual artists — out for a very expensive dinner, wherein the idea of time capsules is discussed and proposals for projects are made, including investing in a group IRA. In true conceptual form, it’s the documentation that ends up on display, including the bill for dinner. Viewers can choose to watch or read; the whole thing was video-taped, transcribed, and compiled into a document titled “The Invisible Labor of Contemporary Art.” While sometimes I find this technique tedious, in the case of \u003cb>Long Shot\u003c/b>, the tongue-in-cheek humor keeps the piece fresh.\u003c/p>\n\u003cp>While much of the work in the show involves a similar combination of photography, still objects, and video, \u003ca href=\"http://www.pochanostra.com/\">Guillermo Gómez-Peña’s\u003c/a> \u003cb>The Mex Files\u003c/b> is notable for its absence of images. To experience the piece, you must enter a small room, painted orange-red and separated from the rest of the exhibit by a black curtain. The room is big enough for two chairs, which face each other at a distance of only a few feet. Next to the chairs is a small table, on top of which sit an empty bottle of tequila and a shot glass, left over from the opening night. A sound recording of Gómez-Peña reading texts about some of the more important moments in his life plays continuously. Gómez-Peña’s insightful humor and eroticism, in combination with the architecture of the space, create the feeling of an intimate ceremony, and leave me thinking that storytelling had to have been the original time capsule.\u003c/p>\n\u003cp>Perhaps the most poignant example of the subjectivity inherent in any form of documentation, however, is Gay Outlaw and Bob Schmitz’s piece \u003cb>Do Not Enter (Angus’s Room)\u003c/b>. For \u003cb>Do Not Enter\u003c/b>, the artists obsessively engaged the parental impulse to arrest the speed of childhood by photographing every last object in their nine-year-old son’s room, creating a catalog of the resulting images. Some of these images have been reprinted at their original scale, including the pattern of glow-in-the-dark stars on Angus’s wall. The catalog is also available for perusal in book form, but the heart of \u003cb>Do Not Enter\u003c/b> is a large mobile on which dangle replications of Angus’s most precious objects at various scales, including Yu-Gi-Oh! cards, a baseball and a super-sized Lego-head.\u003c/p>\n\u003cp>The plan is to pack \u003cb>Do Not Enter\u003c/b> away and show it again in 40 years, and it is this piece of information that most sums up \u003cb>Now & When\u003c/b>: rather than saving the actual contents of Angus’s room, it will be Outlaw and Schmitz’s catalogue and mobile that stand in for time’s detritus. No matter how much energy we put into accurately capturing a moment, ultimately all we are left with are our own interpretations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Now & When\u003c/b> is on display at the San Francisco Arts Commission Gallery until September 4, 2010. Guillermo Gómez-Peña will be giving personal, one-on-one performances of his piece on July 15, 2010, from 6 – 8pm. For \u003ca href=\"http://www.sfartscommission.org/gallery/\">more information\u003c/a> visit sfartscommission.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the surface, there isn’t much to \u003ca href=\"http://www.bampfa.berkeley.edu/press/release/TXT0258\">Perpetual and Furious Refrain\u003c/a>, Brent Green’s solo show at the Berkeley Art Museum’s MATRIX Gallery. The bulk of the show consists of film clips, not to mention one plus-sized, kinetic sculpture: a giant phonograph that uses a choir of interconnected, figurative sculptures as its mouthpiece. Based on these few items, I’m meant to question what it means to create, to love, to hope and believe, which I do — mostly because of the films — but I’m not sure I like the implications of Green’s answers.\u003c/p>\n\u003cp>Walking into the gallery, the first thing a visitor experiences is the looping soundtrack of the choir (based on a style of singing called \u003ca href=\"http://www.youtube.com/watch?v=eJCC4Nrvvw0\">shape-note singing\u003c/a>), followed closely by the impression of somehow stumbling upon a grove of undulating trees, except they’re not trees, but very, very tall people, cut out of wood. Munch’s figure from \u003ca href=\"http://thinkwinemarketing.files.wordpress.com/2009/11/1893_edvard_munch_the_scream-wr400.jpg\">The Scream\u003c/a>would not look out of place next to these giants, except for the fact that they all have gramophone horns where their mouths should be and are connected by long, copper tubes to grooves cut into a horizontally-placed, plastic tub, about 5 feet in diameter. It’s a version of one of the first forms of sound-recording technology (Edison’s wax cylinder), and its ceaseless rotation means that none of those choir members (nor the viewer) ever gets a break. No wonder one of them looks like he’s flipping me off.\u003c/p>\n\u003cp>The sculpture (and the exhibit) correspond with the Pacific Film Archive’s screening of Green’s film, \u003ca href=\"http://gravitywaseverywherebackthen.blogspot.com/\">Gravity Was Everywhere Back Then\u003c/a>, on June 16 and is more of a must-see than the exhibit, if just for its unique visuals and custom-built sets. Green, a Pennsylvania-based filmmaker, has garnered well-deserved attention over the last few years for his \u003ca href=\"?http://www.site.nervousfilms.com/multimedia/%22\">stop-motion animated shorts\u003c/a>. Dark and wistful, the films flicker and jump and stutter as Green’s crackly voice narrates modern-day parables (based on his own writings) over melancholic soundtracks, managing to mix Jan Svankmajer with William Kentridge and a heavy dose of neo-Folk.\u003c/p>\n\u003cp>\u003cb>Gravity\u003c/b> is Green’s first full-length stop-motion film. It tells the story of Leonard Wood, a hardware store clerk who quits his job to build a house specially adapted to heal his wife (Mary) from cancer. Even after Mary’s death in 1972, Leonard continued building, until a fall off the roof forced him to sell the house to pay for his subsequent confinement in a local nursing home. The house was demolished, but Green obtained the plans and rebuilt the entire structure on his property in Pennsylvania, which is where \u003cb>Gravity\u003c/b> was filmed. The film is as much about Green’s project (the recreation) as it is about Leonard’s (the original construction), and it is by paralleling their labors that Green investigates what it means to believe, to create, and to love.\u003c/p>\n\u003cp>Despite my inclinations to let go and enjoy Green’s works, I found myself unable to embrace them. Green tends to romanticize the archetypal creator: Edison, Noah, Leonard Wood, and even himself — the composer/builder of the perpetual and furious refrain from which the choir can’t escape. Even more unsettling — for me — are the moments of naive righteousness, which hint that there are some ways of being an artist and maker that are purer than others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one excerpt on display at MATRIX, for instance, a wooden man opens his eyes in the darkness of his room and stares up towards the ceiling. In the distance is a tree wrapped in white lights. He blinks, and it disappears. A machine winds. A woman stands in a red sweater by a large bush, separated from the darkness by a single spotlight, craning her neck towards the warmth of a single light bulb. She reaches up, and plucks it off, a sequence that repeats not once but three times. Over all this, the narrator waxes rhapsodic about Thomas Edison’s ability to imagine the beauty of electricity before the tools were ever given to him to see it, a thought which somehow ends with the idea that after the vision needs to come the ability to “run everything down to zero in order to leave something wonderful behind.” Similar to the choir piece, it’s a thought that I find romantic and engaging on it’s surface, but ultimately ominous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Perpetual and Furious Refrain\u003c/b> is on display at the Berkeley Art Museum’s MATRIX Gallery through September 12, 2010. Brent Green’s film, \u003cb>Gravity Was Everywhere Back Then\u003c/b> screens at the Pacific Film Archive on June 16, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the surface, there isn’t much to \u003ca href=\"http://www.bampfa.berkeley.edu/press/release/TXT0258\">Perpetual and Furious Refrain\u003c/a>, Brent Green’s solo show at the Berkeley Art Museum’s MATRIX Gallery. The bulk of the show consists of film clips, not to mention one plus-sized, kinetic sculpture: a giant phonograph that uses a choir of interconnected, figurative sculptures as its mouthpiece. Based on these few items, I’m meant to question what it means to create, to love, to hope and believe, which I do — mostly because of the films — but I’m not sure I like the implications of Green’s answers.\u003c/p>\n\u003cp>Walking into the gallery, the first thing a visitor experiences is the looping soundtrack of the choir (based on a style of singing called \u003ca href=\"http://www.youtube.com/watch?v=eJCC4Nrvvw0\">shape-note singing\u003c/a>), followed closely by the impression of somehow stumbling upon a grove of undulating trees, except they’re not trees, but very, very tall people, cut out of wood. Munch’s figure from \u003ca href=\"http://thinkwinemarketing.files.wordpress.com/2009/11/1893_edvard_munch_the_scream-wr400.jpg\">The Scream\u003c/a>would not look out of place next to these giants, except for the fact that they all have gramophone horns where their mouths should be and are connected by long, copper tubes to grooves cut into a horizontally-placed, plastic tub, about 5 feet in diameter. It’s a version of one of the first forms of sound-recording technology (Edison’s wax cylinder), and its ceaseless rotation means that none of those choir members (nor the viewer) ever gets a break. No wonder one of them looks like he’s flipping me off.\u003c/p>\n\u003cp>The sculpture (and the exhibit) correspond with the Pacific Film Archive’s screening of Green’s film, \u003ca href=\"http://gravitywaseverywherebackthen.blogspot.com/\">Gravity Was Everywhere Back Then\u003c/a>, on June 16 and is more of a must-see than the exhibit, if just for its unique visuals and custom-built sets. Green, a Pennsylvania-based filmmaker, has garnered well-deserved attention over the last few years for his \u003ca href=\"?http://www.site.nervousfilms.com/multimedia/%22\">stop-motion animated shorts\u003c/a>. Dark and wistful, the films flicker and jump and stutter as Green’s crackly voice narrates modern-day parables (based on his own writings) over melancholic soundtracks, managing to mix Jan Svankmajer with William Kentridge and a heavy dose of neo-Folk.\u003c/p>\n\u003cp>\u003cb>Gravity\u003c/b> is Green’s first full-length stop-motion film. It tells the story of Leonard Wood, a hardware store clerk who quits his job to build a house specially adapted to heal his wife (Mary) from cancer. Even after Mary’s death in 1972, Leonard continued building, until a fall off the roof forced him to sell the house to pay for his subsequent confinement in a local nursing home. The house was demolished, but Green obtained the plans and rebuilt the entire structure on his property in Pennsylvania, which is where \u003cb>Gravity\u003c/b> was filmed. The film is as much about Green’s project (the recreation) as it is about Leonard’s (the original construction), and it is by paralleling their labors that Green investigates what it means to believe, to create, and to love.\u003c/p>\n\u003cp>Despite my inclinations to let go and enjoy Green’s works, I found myself unable to embrace them. Green tends to romanticize the archetypal creator: Edison, Noah, Leonard Wood, and even himself — the composer/builder of the perpetual and furious refrain from which the choir can’t escape. Even more unsettling — for me — are the moments of naive righteousness, which hint that there are some ways of being an artist and maker that are purer than others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one excerpt on display at MATRIX, for instance, a wooden man opens his eyes in the darkness of his room and stares up towards the ceiling. In the distance is a tree wrapped in white lights. He blinks, and it disappears. A machine winds. A woman stands in a red sweater by a large bush, separated from the darkness by a single spotlight, craning her neck towards the warmth of a single light bulb. She reaches up, and plucks it off, a sequence that repeats not once but three times. Over all this, the narrator waxes rhapsodic about Thomas Edison’s ability to imagine the beauty of electricity before the tools were ever given to him to see it, a thought which somehow ends with the idea that after the vision needs to come the ability to “run everything down to zero in order to leave something wonderful behind.” Similar to the choir piece, it’s a thought that I find romantic and engaging on it’s surface, but ultimately ominous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Perpetual and Furious Refrain\u003c/b> is on display at the Berkeley Art Museum’s MATRIX Gallery through September 12, 2010. Brent Green’s film, \u003cb>Gravity Was Everywhere Back Then\u003c/b> screens at the Pacific Film Archive on June 16, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Recently, a friend confided that he was on a quest to watch every episode of the 1970’s cop drama \u003cb>The Streets of San Francisco\u003c/b>, which was released last year on DVD. It’s not that he’s a particular fan of Karl Malden or Michael Douglas, but he does love his city, which was the backdrop for the popular TV show.\u003c/p>\n\u003cp>As it turns out, “Streets” is actually a pretty good time capsule of San Francisco in the Watergate era, but if you want to see what San Francisco’s streets looked like a few decades before that, check out \u003cb>San Francisco Then\u003c/b>, an exhibition of photographs taken during the 1940s and ’50s by Fred Lyon.\u003c/p>\n\u003cp>\u003cb>San Francisco Then\u003c/b>, which runs through August 28, 2010, is a fitting first show for Modernbook Gallery’s new San Francisco location. Since 1999, the gallery has been quietly mounting lovely photography exhibitions in Palo Alto. Since 2005, Modernbook has also been publishing handsome, limited edition, hardbound books to accompany many of these shows, including a pair each by Fan Ho and Maggie Taylor. Fred Lyon gets a book for this show, too, and a new publication devoted to the surreal photography of Jerry Uelsmann is due later this year.\u003c/p>\n\u003cp>The Lyon exhibition is a mixture of movie-poster-size blowups interspersed by grids of smaller photos. There are lots of predictable shots of the Golden Gate Bridge and cable cars, many of them aerials, but the show is also heavy on neighborhood streets, some shrouded in fog, others attracting the photographer’s eye for their steep inclines and angles.\u003c/p>\n\u003cp>“Embarcadero Lunch” from 1948 is an example of the former. This large, grainy image features a man at its center walking through the haze toward Lyon’s camera. A sign promising “Lunch” and “Drinks” hangs above him and to the left, the faint ghost of the fogged-in Ferry Building looms behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Embarcadero Lunch” is an example of a Lyon photograph in an instantly recognizable public place, but some of Lyon’s best images take us into little neighborhoods and down obscure side streets. Sometimes he invites us to take a local’s view of a famous landmark, such as in “Coit Tower, Castle Street” from 1947. In this moody night shot, a narrow strip of unpopulated pavement, flanked on either side by modest, wooden facades, serves as a kind of runway for Coit Tower, which is illuminated in the background. Here the city icon feels familiar, just another part of the neighborhood rather than a clichéd postcard.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/playground-fence.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Other photographs introduces us to the people who live and work in these neighborhoods. The five kids who stare at Lyon’s lens in “Playground Fence” from 1949 are clearly masters of their urban universe. Similarly at home are the five old men shown in “Bocce Ball, Aquatic Park,” 1958 — unfazed by Lyon’s presence, their collective attention is focused on the collection of balls at their feet. I love the guy on the right, his trousers pulled up high, a wide-brimmed fedora on his head, thumbs hooked into the waist of his pants.\u003c/p>\n\u003cp>And then there are the photos of the city’s hills, which are often peopled to dramatize their steep slopes. In “Forbidden Parking” from 1953, a police officer is ticketing a car parked at a right angle to the tightly packed buildings marching down the hill. To steady himself, the officer puts a foot on the car’s front bumper so he can use his knee as a desk to write the scofflaw at ticket — good thing someone parked a car here!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/forbidden-parking.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>I supposed I’d like to know the nature of the offense that brought a squad car and two officers to this crime scene — was the car blocking the sidewalk, a driveway, both? — but I mostly prefer Lyon’s abstracts, where evidence of human habitation stands in for the real thing.\u003c/p>\n\u003cp>The best of these, and probably my favorite picture in the show, is “North Beach Clotheslines” from 1947. Here, half a dozen or more cords groan under the weight of drying undergarments, curtains and what appear to be towels. The waves created by the rhythm of garments and clothespins are gentle and undulating, but at the bottom of the composition, waves turn to teeth in the form of a jagged fence top, which resembles the lower lip of a leering jack o’ lantern. The distracting contrast is so successful that it takes multiple looks before we notice a woman stepping into the frame from the right, and one or two more glances after that before we realize that in order to see her at all Lyon has forced us to peer through a car’s driver- and passenger-side windows. Meanwhile, the laundry flutters.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/northbeach-clotheslines.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>San Francisco Then\u003c/b> runs through August 28, 2010 at Modernbook Gallery in San Francisco. For \u003ca href=\"http://www.modernbook.com/static.html\">more information\u003c/a> visit modernbook.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, a friend confided that he was on a quest to watch every episode of the 1970’s cop drama \u003cb>The Streets of San Francisco\u003c/b>, which was released last year on DVD. It’s not that he’s a particular fan of Karl Malden or Michael Douglas, but he does love his city, which was the backdrop for the popular TV show.\u003c/p>\n\u003cp>As it turns out, “Streets” is actually a pretty good time capsule of San Francisco in the Watergate era, but if you want to see what San Francisco’s streets looked like a few decades before that, check out \u003cb>San Francisco Then\u003c/b>, an exhibition of photographs taken during the 1940s and ’50s by Fred Lyon.\u003c/p>\n\u003cp>\u003cb>San Francisco Then\u003c/b>, which runs through August 28, 2010, is a fitting first show for Modernbook Gallery’s new San Francisco location. Since 1999, the gallery has been quietly mounting lovely photography exhibitions in Palo Alto. Since 2005, Modernbook has also been publishing handsome, limited edition, hardbound books to accompany many of these shows, including a pair each by Fan Ho and Maggie Taylor. Fred Lyon gets a book for this show, too, and a new publication devoted to the surreal photography of Jerry Uelsmann is due later this year.\u003c/p>\n\u003cp>The Lyon exhibition is a mixture of movie-poster-size blowups interspersed by grids of smaller photos. There are lots of predictable shots of the Golden Gate Bridge and cable cars, many of them aerials, but the show is also heavy on neighborhood streets, some shrouded in fog, others attracting the photographer’s eye for their steep inclines and angles.\u003c/p>\n\u003cp>“Embarcadero Lunch” from 1948 is an example of the former. This large, grainy image features a man at its center walking through the haze toward Lyon’s camera. A sign promising “Lunch” and “Drinks” hangs above him and to the left, the faint ghost of the fogged-in Ferry Building looms behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Embarcadero Lunch” is an example of a Lyon photograph in an instantly recognizable public place, but some of Lyon’s best images take us into little neighborhoods and down obscure side streets. Sometimes he invites us to take a local’s view of a famous landmark, such as in “Coit Tower, Castle Street” from 1947. In this moody night shot, a narrow strip of unpopulated pavement, flanked on either side by modest, wooden facades, serves as a kind of runway for Coit Tower, which is illuminated in the background. Here the city icon feels familiar, just another part of the neighborhood rather than a clichéd postcard.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/playground-fence.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Other photographs introduces us to the people who live and work in these neighborhoods. The five kids who stare at Lyon’s lens in “Playground Fence” from 1949 are clearly masters of their urban universe. Similarly at home are the five old men shown in “Bocce Ball, Aquatic Park,” 1958 — unfazed by Lyon’s presence, their collective attention is focused on the collection of balls at their feet. I love the guy on the right, his trousers pulled up high, a wide-brimmed fedora on his head, thumbs hooked into the waist of his pants.\u003c/p>\n\u003cp>And then there are the photos of the city’s hills, which are often peopled to dramatize their steep slopes. In “Forbidden Parking” from 1953, a police officer is ticketing a car parked at a right angle to the tightly packed buildings marching down the hill. To steady himself, the officer puts a foot on the car’s front bumper so he can use his knee as a desk to write the scofflaw at ticket — good thing someone parked a car here!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/forbidden-parking.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>I supposed I’d like to know the nature of the offense that brought a squad car and two officers to this crime scene — was the car blocking the sidewalk, a driveway, both? — but I mostly prefer Lyon’s abstracts, where evidence of human habitation stands in for the real thing.\u003c/p>\n\u003cp>The best of these, and probably my favorite picture in the show, is “North Beach Clotheslines” from 1947. Here, half a dozen or more cords groan under the weight of drying undergarments, curtains and what appear to be towels. The waves created by the rhythm of garments and clothespins are gentle and undulating, but at the bottom of the composition, waves turn to teeth in the form of a jagged fence top, which resembles the lower lip of a leering jack o’ lantern. The distracting contrast is so successful that it takes multiple looks before we notice a woman stepping into the frame from the right, and one or two more glances after that before we realize that in order to see her at all Lyon has forced us to peer through a car’s driver- and passenger-side windows. Meanwhile, the laundry flutters.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/northbeach-clotheslines.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>San Francisco Then\u003c/b> runs through August 28, 2010 at Modernbook Gallery in San Francisco. For \u003ca href=\"http://www.modernbook.com/static.html\">more information\u003c/a> visit modernbook.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Brett Cook tries to stay conscious of how he can become a better version of himself and, after visiting his Oakland studio recently, we can attest that he is already a pretty great person, not to mention an amazing artist. In the past, he’s studied zoology, education, and art, and his work, from connect-the-dot drawings to large-scale altars dedicated to civil rights heroes, is just as varied and unexpected as his course load. With the promise of interactive art pieces, good music, and clay, \u003cb>Supernatural\u003c/b>, his upcoming show at \u003ca href=\"http://guerrerogallery.com\">Guerrero Gallery\u003c/a>, promises to stand apart from all those other art openings.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-7.jpg\">\u003c/p>\n\u003cp>\u003ci>\u003cb>EKG:\u003c/b> Where are you from\u003c/i>\u003c/p>\n\u003cp>\u003cb>Brett Cook:\u003c/b> “I was born and raised in San Diego. I moved here to study zoology at Berkeley, and eventually got degrees in art and education. I taught here in the Bay, and then moved to the East Coast in 1994, and lived there for about ten years, and then briefly moved to Oajaxa, Mexico. I’ve been back here since 2006.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-5.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-8.jpg\">\u003c/p>\n\u003cp>\u003ci>The creation of your artwork often involves communities. How do you work with different groups of people, and why is it important to your art practice?\u003c/i>\u003c/p>\n\u003cp>“I often like to describe my practice as a continuum or a spectrum. On one end of the spectrum, I appear to be more of a conventional artist where I make things by myself. I make them in a studio; they involve concepts and techniques that I’m thinking about. On the other extent of the spectrum, I might work with large groups of people and not make anything in terms of objects. It may just be some kind of curriculum or conceptual architecture, or a protocol that helps people make things.”\u003c/p>\n\u003cp>“And then there are all of these places in between in that spectrum. Increasingly, it’s becoming clear that my work is aspiring to show the interconnectedness of all things. We’re related to each other as people, to the planet, and to the universe. By working with people, it becomes really apparent that if we’re making something, its existence is dependent upon our collaborative investment. It exists not because of one person, but because we all are literally in it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-11.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-9.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-18.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-19.jpg\">\u003c/p>\n\u003cp>\u003ci>Have you always worked that way?\u003c/i>\u003c/p>\n\u003cp>“I’ve worked in public space for a long time. Initially it was much more about an aspiration to have the work be accessible. Both my parents were public school teachers, and even though they had graduate degrees and were educators, we never looked at art and we never had art. I think it’s so indicative of American culture. It’s very common for people to not have an intimate relationship with art. So that was part of my inspiration to make it public. I think art has the power to really affect people deeply, so I wanted to put it where people could see it, because not that many people I knew were going to museums and galleries. I started to think I wanted to change my world with art. Like Bertolt Brecht, I wanted it to be a hammer to shake reality, not a mirror to reflect it. I wanted to get invested and change the world. ‘Let me tell you about how something’s messed up, and let me make this analysis.’ Over time I started to realize that wasn’t necessarily changing the world. I started thinking, ‘Well, if I want the world to be more peaceful, let me make things that are more peaceful.’ Or, ‘If I want the world to be more inclusive, let me make things that are inclusive.'” \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-3.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some global issues that you address in your work?\u003c/i>\u003c/p>\n\u003cp>“My work used to be much more focused on incidents, somehow thinking the analysis would change the environment. Now I’m much more interested in how to change myself to be a better person, and a part of that has been about recognizing my relationship to other people. I’m interested in highlighting those relationships that exist, or cultivating awareness that we are in relationships. Oftentimes when we do disservices to each other, it’s because we don’t see ourselves in each other. Like, ‘You speak a different language than me, you have a different amount of money than I do, or your car looks different that mine.’ All these things that are about how I can separate myself from you, so that when I’m hurting you, I don’t realize that I’m hurting myself. My work is trying to build these ways for people to see themselves in each other. We spend a lot more time in our society actualizing our differences rather than reaffirming our relationships. ‘I live in Oakland, you live in San Francisco,’ or ‘I like the A’s, you like the Giants.’ It’s endless. ‘Your bike has one gear, mine has fifteen.’ I’m interested in how we make these ways to reaffirm that truth that we’re really related. When that’s done skillfully, it makes it easier for people to be good to each other.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-4.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-17.jpg\">\u003c/p>\n\u003cp>\u003ci>Can you talk about the found materials you use — what do the tinsel and Christmas lights represent?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in nature, the true nature of things. In American culture, even though we have God on our money and we say ‘God’ in the pledge of allegiance, we’re not a very spiritual culture. Things like Christmas, Halloween and Easter have seemingly become benign, but they still carry that baggage that makes people interested. Things like tinsel and lights are a part of all of our experiences. There have been times in my life when I might’ve trivialized those things as benign. And yet there are things about them that are resonant. In some instances, people do use them reverently. For me, the materials are manifestations of my own ongoing studies to be a more humane person.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-12.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-13.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your upcoming show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>“The title \u003cb>Supernatural\u003c/b> is a reflection of the idea that my practice is about things that are not just in the physical. For the past year, I’ve been taking an herbal medicine course, so that’s a literal exemplification of the supernatural. Or making a gallery opening that’s inclusive of kids and elders and hipsters, it’s really natural. It’s just the world we live in. It’s almost unnatural that we can go to a white box and there will only be people that are 25 to 30 there. So the title is both a reflection of what’s going to happen on opening night, and of what I want to be. Some of that is based in objects that I made by myself, and some are projects that were done with lots of other people at big social events.”\u003c/p>\n\u003cp>“There will be things there that people can make. There will be an image of The Virgin of Guadalupe people can work on, there will be music, there will be clay, and there will be this assemblage of people who might work at arts organizations, or who might never go to galleries, ever. But they’ll be there, and they’ll all be in that space together.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-14.jpg\">\u003c/p>\n\u003cp><p\u003ci>What type of music could best describe your artwork?\u003c/i>\u003c/p>\n\u003cp>“Soulful.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-6.jpg\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Brett Cook’s solo exhibition \u003cb>Supernatural\u003c/b> opens at \u003ca href=\"http://guerrerogallery.com\">Guerrero Gallery\u003c/a> on June 5, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brett Cook tries to stay conscious of how he can become a better version of himself and, after visiting his Oakland studio recently, we can attest that he is already a pretty great person, not to mention an amazing artist. In the past, he’s studied zoology, education, and art, and his work, from connect-the-dot drawings to large-scale altars dedicated to civil rights heroes, is just as varied and unexpected as his course load. With the promise of interactive art pieces, good music, and clay, \u003cb>Supernatural\u003c/b>, his upcoming show at \u003ca href=\"http://guerrerogallery.com\">Guerrero Gallery\u003c/a>, promises to stand apart from all those other art openings.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-7.jpg\">\u003c/p>\n\u003cp>\u003ci>\u003cb>EKG:\u003c/b> Where are you from\u003c/i>\u003c/p>\n\u003cp>\u003cb>Brett Cook:\u003c/b> “I was born and raised in San Diego. I moved here to study zoology at Berkeley, and eventually got degrees in art and education. I taught here in the Bay, and then moved to the East Coast in 1994, and lived there for about ten years, and then briefly moved to Oajaxa, Mexico. I’ve been back here since 2006.”\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/brett-cook-5.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-8.jpg\">\u003c/p>\n\u003cp>\u003ci>The creation of your artwork often involves communities. How do you work with different groups of people, and why is it important to your art practice?\u003c/i>\u003c/p>\n\u003cp>“I often like to describe my practice as a continuum or a spectrum. On one end of the spectrum, I appear to be more of a conventional artist where I make things by myself. I make them in a studio; they involve concepts and techniques that I’m thinking about. On the other extent of the spectrum, I might work with large groups of people and not make anything in terms of objects. It may just be some kind of curriculum or conceptual architecture, or a protocol that helps people make things.”\u003c/p>\n\u003cp>“And then there are all of these places in between in that spectrum. Increasingly, it’s becoming clear that my work is aspiring to show the interconnectedness of all things. We’re related to each other as people, to the planet, and to the universe. By working with people, it becomes really apparent that if we’re making something, its existence is dependent upon our collaborative investment. It exists not because of one person, but because we all are literally in it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-11.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-9.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-18.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-19.jpg\">\u003c/p>\n\u003cp>\u003ci>Have you always worked that way?\u003c/i>\u003c/p>\n\u003cp>“I’ve worked in public space for a long time. Initially it was much more about an aspiration to have the work be accessible. Both my parents were public school teachers, and even though they had graduate degrees and were educators, we never looked at art and we never had art. I think it’s so indicative of American culture. It’s very common for people to not have an intimate relationship with art. So that was part of my inspiration to make it public. I think art has the power to really affect people deeply, so I wanted to put it where people could see it, because not that many people I knew were going to museums and galleries. I started to think I wanted to change my world with art. Like Bertolt Brecht, I wanted it to be a hammer to shake reality, not a mirror to reflect it. I wanted to get invested and change the world. ‘Let me tell you about how something’s messed up, and let me make this analysis.’ Over time I started to realize that wasn’t necessarily changing the world. I started thinking, ‘Well, if I want the world to be more peaceful, let me make things that are more peaceful.’ Or, ‘If I want the world to be more inclusive, let me make things that are inclusive.'” \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-3.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some global issues that you address in your work?\u003c/i>\u003c/p>\n\u003cp>“My work used to be much more focused on incidents, somehow thinking the analysis would change the environment. Now I’m much more interested in how to change myself to be a better person, and a part of that has been about recognizing my relationship to other people. I’m interested in highlighting those relationships that exist, or cultivating awareness that we are in relationships. Oftentimes when we do disservices to each other, it’s because we don’t see ourselves in each other. Like, ‘You speak a different language than me, you have a different amount of money than I do, or your car looks different that mine.’ All these things that are about how I can separate myself from you, so that when I’m hurting you, I don’t realize that I’m hurting myself. My work is trying to build these ways for people to see themselves in each other. We spend a lot more time in our society actualizing our differences rather than reaffirming our relationships. ‘I live in Oakland, you live in San Francisco,’ or ‘I like the A’s, you like the Giants.’ It’s endless. ‘Your bike has one gear, mine has fifteen.’ I’m interested in how we make these ways to reaffirm that truth that we’re really related. When that’s done skillfully, it makes it easier for people to be good to each other.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-4.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-17.jpg\">\u003c/p>\n\u003cp>\u003ci>Can you talk about the found materials you use — what do the tinsel and Christmas lights represent?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in nature, the true nature of things. In American culture, even though we have God on our money and we say ‘God’ in the pledge of allegiance, we’re not a very spiritual culture. Things like Christmas, Halloween and Easter have seemingly become benign, but they still carry that baggage that makes people interested. Things like tinsel and lights are a part of all of our experiences. There have been times in my life when I might’ve trivialized those things as benign. And yet there are things about them that are resonant. In some instances, people do use them reverently. For me, the materials are manifestations of my own ongoing studies to be a more humane person.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-12.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brett-cook-13.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your upcoming show at Guerrero Gallery.\u003c/i>\u003c/p>\n\u003cp>“The title \u003cb>Supernatural\u003c/b> is a reflection of the idea that my practice is about things that are not just in the physical. For the past year, I’ve been taking an herbal medicine course, so that’s a literal exemplification of the supernatural. Or making a gallery opening that’s inclusive of kids and elders and hipsters, it’s really natural. It’s just the world we live in. It’s almost unnatural that we can go to a white box and there will only be people that are 25 to 30 there. 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"title": "Clare Rojas: We They, We They",
"headTitle": "Clare Rojas: We They, We They | KQED",
"content": "\u003cp>Creating unmitigated beauty for the eyes and ears, Clare Rojas is a revolutionary presence. And for the next three months, she graces the Museum of Craft & Folk Art with a stunner of a show called \u003cb>We They, We They\u003c/b>. Organized in collaboration with Ikon Gallery in Birmingham, England, where a similar iteration of the show was presented earlier this year, the exhibition has been remixed in true DIY style, and re-installed locally, in the city where Rojas lives and works.\u003c/p>\n\u003cp>On opening night in San Francisco, Rojas performed a handful of songs under her stage name, Peggy Honeywell. Peggy wears a disarming wig and appears to have stepped right out of a Clare Rojas painting with her guitar in hand. In my household, Peggy Honeywell is on par with Johnny Cash. Her folksy songs transport me to a timeless place where judgments are tabled, and stories are told with unwavering charm and insight. Her artwork goes hand-and-hand with her music, sharing themes and essence.\u003c/p>\n\u003cp> [youtube http://www.youtube.com/watch?v=O70OWck06zE&hl=en_US&fs=1&color1=0x5d1719&color2=0xcd311b]\u003cbr>\u003ci>Video shot by Elizabeth Pepin\u003c/i>\u003c/p>\n\u003cp>The location of Rojas’s exhibition shouldn’t be a surprise. Her work belongs in a museum. It’s atypical for an exhibition to travel from a fine art gallery to a folk art museum, but rather than dwell on how Clare Rojas fits into the folk/fine art continuum, let’s just indulge in her work. It’s meant to be enjoyed and savored, because it’s empowering, especially for those who understand that women are over-objectified and undervalued in most societies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the counterculture art scene, too many female artists gain recognition by painting doe-eyed, sexy girls who are supposed to be considered powerful because they use perceived innocence and sexuality as weapons. I don’t buy it, and I see Rojas’s work as the antithesis of that trend. We should all pay attention to what she is trying to tell us. She’s not going to hand it to you on a TV dinner tray — you might crave more explanation when it comes to her work — but if you spend time critically viewing her imagery, you’ll understand her motives. In addition to framed works, and wall-sized quilts of paintings on salvaged wood, also on view are three videos that help drive home her message (all three were produced with artist Andrew Jeffrey Wright). One is a music video for Peggy Honeywell’s “Bower Bird,” in which the singer performs solemnly during a testosterone-fueled keg party, sticking out like a sore thumb in her beehive wig and red country dress. On \u003ca href=\"http://peggyhoneywell.blogspot.com/2010/02/peggy-video-by-andrew-jeffrey-wright.html\">Peggy’s blog\u003c/a> she says the video shows how she feels when performing at art openings, but she’s also commenting on frat party culture. In the other videos, fashion magazine pages become obscured with animated doodles — objectified women’s heads turn into fish, their skinny arms are stretched or fattened — she is critiquing advertising’s sexism in an approachable, funny way.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Alan Bamberger\u003c/p>\n\u003cp>Men are noticeably underrepresented in Rojas’s latest paintings. When they appear, they look vulnerable. In one large piece, male faces are blocked as they run up the long tongue of a giant, old world woman, with piles of offerings in their arms. But don’t call her a man-hater. Rojas is merely trying to tip the scales back into balance. After all, before the ’60s, art history books would have you believe that women never, ever made art. It was only 25 years ago that the \u003ca href=\"http://www.guerrillagirls.com/posters/getnaked.shtml\">Guerilla Girls\u003c/a> called out the rampant discrimination in museums. And women are still paid \u003ca href=\"http://www.time.com/time/nation/article/0,8599,1983185,00.html\">significantly less\u003c/a> than men for the same job in any field. When I look at Clare Rojas’s work, with its mysterious narrative and vintage aesthetic, I cross my fingers that one day our children will see her paintings and think, “Women must’ve been really powerful in the old days.” I’m opening a can of worms here — I don’t want future generations to be fooled, but I want them to know that there were people here trying to even things out, rewriting history to reflect the truth about the powerful roles that all people (of all genders, ethnicities, and orientations) have played in shaping contemporary life.\u003c/p>\n\u003cp>Look closely at the women in Rojas’s paintings, the lines on their faces, their expressions and subtle gestures, and the spaces they occupy. Some are welcoming other women into safety. Others sit in chairs; their heads drooped over. Are they sorrowful? Gathering strength? Meditating? Waiting? Space is of particular importance in this show, Rojas is starting to explore domestic habitats in her work. If you stand at a certain point in the museum and are the artist’s height, the murals’ lines converge to give you the perspective of being in one of the rooms in her paintings. It’s really special to be able to see works from the artist’s last few years, and witness the beginning of a new direction at the same time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>If you didn’t drop this article halfway through because you couldn’t wait to get over to MOCFA (or Amoeba to purchase some Peggy Honeywell records), you’re a fool. Don’t come back until you’ve done both of those things. I mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>We They, We They\u003c/b> is on view at the San Francisco Museum of Craft and Folk Art through August 22, 2010. Clare Rojas will discuss her work at the museum on Thursday, March 20, 2010 at 7pm. For \u003ca href=\"http://www.mocfa.org/\">more information\u003c/a> visit mocfa.org. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating unmitigated beauty for the eyes and ears, Clare Rojas is a revolutionary presence. And for the next three months, she graces the Museum of Craft & Folk Art with a stunner of a show called \u003cb>We They, We They\u003c/b>. Organized in collaboration with Ikon Gallery in Birmingham, England, where a similar iteration of the show was presented earlier this year, the exhibition has been remixed in true DIY style, and re-installed locally, in the city where Rojas lives and works.\u003c/p>\n\u003cp>On opening night in San Francisco, Rojas performed a handful of songs under her stage name, Peggy Honeywell. Peggy wears a disarming wig and appears to have stepped right out of a Clare Rojas painting with her guitar in hand. In my household, Peggy Honeywell is on par with Johnny Cash. Her folksy songs transport me to a timeless place where judgments are tabled, and stories are told with unwavering charm and insight. Her artwork goes hand-and-hand with her music, sharing themes and essence.\u003c/p>\n\u003cp> \u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O70OWck06zE'\n title='//www.youtube.com/embed/O70OWck06zE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\u003ci>Video shot by Elizabeth Pepin\u003c/i>\u003c/p>\n\u003cp>The location of Rojas’s exhibition shouldn’t be a surprise. Her work belongs in a museum. It’s atypical for an exhibition to travel from a fine art gallery to a folk art museum, but rather than dwell on how Clare Rojas fits into the folk/fine art continuum, let’s just indulge in her work. It’s meant to be enjoyed and savored, because it’s empowering, especially for those who understand that women are over-objectified and undervalued in most societies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the counterculture art scene, too many female artists gain recognition by painting doe-eyed, sexy girls who are supposed to be considered powerful because they use perceived innocence and sexuality as weapons. I don’t buy it, and I see Rojas’s work as the antithesis of that trend. We should all pay attention to what she is trying to tell us. She’s not going to hand it to you on a TV dinner tray — you might crave more explanation when it comes to her work — but if you spend time critically viewing her imagery, you’ll understand her motives. In addition to framed works, and wall-sized quilts of paintings on salvaged wood, also on view are three videos that help drive home her message (all three were produced with artist Andrew Jeffrey Wright). One is a music video for Peggy Honeywell’s “Bower Bird,” in which the singer performs solemnly during a testosterone-fueled keg party, sticking out like a sore thumb in her beehive wig and red country dress. On \u003ca href=\"http://peggyhoneywell.blogspot.com/2010/02/peggy-video-by-andrew-jeffrey-wright.html\">Peggy’s blog\u003c/a> she says the video shows how she feels when performing at art openings, but she’s also commenting on frat party culture. In the other videos, fashion magazine pages become obscured with animated doodles — objectified women’s heads turn into fish, their skinny arms are stretched or fattened — she is critiquing advertising’s sexism in an approachable, funny way.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Alan Bamberger\u003c/p>\n\u003cp>Men are noticeably underrepresented in Rojas’s latest paintings. When they appear, they look vulnerable. In one large piece, male faces are blocked as they run up the long tongue of a giant, old world woman, with piles of offerings in their arms. But don’t call her a man-hater. Rojas is merely trying to tip the scales back into balance. After all, before the ’60s, art history books would have you believe that women never, ever made art. It was only 25 years ago that the \u003ca href=\"http://www.guerrillagirls.com/posters/getnaked.shtml\">Guerilla Girls\u003c/a> called out the rampant discrimination in museums. And women are still paid \u003ca href=\"http://www.time.com/time/nation/article/0,8599,1983185,00.html\">significantly less\u003c/a> than men for the same job in any field. When I look at Clare Rojas’s work, with its mysterious narrative and vintage aesthetic, I cross my fingers that one day our children will see her paintings and think, “Women must’ve been really powerful in the old days.” I’m opening a can of worms here — I don’t want future generations to be fooled, but I want them to know that there were people here trying to even things out, rewriting history to reflect the truth about the powerful roles that all people (of all genders, ethnicities, and orientations) have played in shaping contemporary life.\u003c/p>\n\u003cp>Look closely at the women in Rojas’s paintings, the lines on their faces, their expressions and subtle gestures, and the spaces they occupy. Some are welcoming other women into safety. Others sit in chairs; their heads drooped over. Are they sorrowful? Gathering strength? Meditating? Waiting? Space is of particular importance in this show, Rojas is starting to explore domestic habitats in her work. If you stand at a certain point in the museum and are the artist’s height, the murals’ lines converge to give you the perspective of being in one of the rooms in her paintings. It’s really special to be able to see works from the artist’s last few years, and witness the beginning of a new direction at the same time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rojas-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>If you didn’t drop this article halfway through because you couldn’t wait to get over to MOCFA (or Amoeba to purchase some Peggy Honeywell records), you’re a fool. Don’t come back until you’ve done both of those things. I mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>We They, We They\u003c/b> is on view at the San Francisco Museum of Craft and Folk Art through August 22, 2010. Clare Rojas will discuss her work at the museum on Thursday, March 20, 2010 at 7pm. For \u003ca href=\"http://www.mocfa.org/\">more information\u003c/a> visit mocfa.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Dirty Hands: The Art and Crimes of David Choe | KQED",
"content": "\u003cp>He’s been lost in the Congo and jailed in Tokyo. He’s shredded, destroyed, and painted nearly everything in his self-destructive path. His art is messy and raw, and he makes it “for the people who don’t give a BLEEP about art.” He is David Choe, and he is extreme to the max. His childhood pal, filmmaker Harry Kim, followed Choe with a camera for nearly a decade and has finally released his highly anticipated film, \u003cb>Dirty Hands: The Art and Crimes of David Choe\u003c/b>.\u003c/p>\n\u003cp>Choe’s hands are definitely dirty, both literally and metaphorically, but to wash them would be to erase the boundless, reckless creativity that is his nature. He is blowing up this month with a huge \u003ca href=\"http://www.lazinc.com/\">show in LA\u003c/a>,an entire issue of \u003ca href=\"http://shop.juxtapoz.com/detail.php?id=351\">Juxtapoz\u003c/a> dedicated to him, and now the film, which rounds out Choe’s month and digs deep under the skin of the artist, who might be considered insane by ordinary people.\u003c/p>\n\u003cp>Some of his work warrants discomfort; the shock value is high. He made a calendar full of paintings of women he’d slept with accompanied by super raunchy, lady-hating text. A feminist artist comments on it in the film, reading some of the words aloud, and it made me want to hate David Choe. Some scenes from his Congo travels also made me squirm. But what I was looking for in this film was the soft side of this badass, and it was there.\u003c/p>\n\u003cp>In scenes with his family and girlfriend, and when he talks about his time in jail, it was harder to hate him. And I’m telling you, I was trying, because he is a sex-obsessed, chronically adolescent dude. But his talent is undeniable, and it’s pretty clear he has a heart. He just has no inhibitions and a lot of checkmarks in the inappropriate column (at least in this society). But that’s one of the reasons why I’m a fan of his interviews with other artists. The unconventionality of his questions makes them fresh — same thing goes for his art.\u003c/p>\n\u003cp>Locals will enjoy hearing about Choe’s time in Oakland, seeing shows in San Jose and SF, and footage of one of his self-described “sell out” corporate gigs where he and \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4553\">Kid Beyond\u003c/a> perform live for a buttoned-up crowd. The film is gritty and rough, befitting the subject. It is not for kids or straight-laced folks, due to all the blood, guts and “t and a.” If there’s one thing that can’t be shoplifted that Choe is stocked up on it’s guts, and the film is an insider’s portrait of his genuine struggle for the glory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dirty Hands\u003c/b> opens May 21, 2010 at The Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=8DDD2BC5-E41A-AC07-69022B97E6C44E8F\">more information\u003c/a> visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s been lost in the Congo and jailed in Tokyo. He’s shredded, destroyed, and painted nearly everything in his self-destructive path. His art is messy and raw, and he makes it “for the people who don’t give a BLEEP about art.” He is David Choe, and he is extreme to the max. His childhood pal, filmmaker Harry Kim, followed Choe with a camera for nearly a decade and has finally released his highly anticipated film, \u003cb>Dirty Hands: The Art and Crimes of David Choe\u003c/b>.\u003c/p>\n\u003cp>Choe’s hands are definitely dirty, both literally and metaphorically, but to wash them would be to erase the boundless, reckless creativity that is his nature. He is blowing up this month with a huge \u003ca href=\"http://www.lazinc.com/\">show in LA\u003c/a>,an entire issue of \u003ca href=\"http://shop.juxtapoz.com/detail.php?id=351\">Juxtapoz\u003c/a> dedicated to him, and now the film, which rounds out Choe’s month and digs deep under the skin of the artist, who might be considered insane by ordinary people.\u003c/p>\n\u003cp>Some of his work warrants discomfort; the shock value is high. He made a calendar full of paintings of women he’d slept with accompanied by super raunchy, lady-hating text. A feminist artist comments on it in the film, reading some of the words aloud, and it made me want to hate David Choe. Some scenes from his Congo travels also made me squirm. But what I was looking for in this film was the soft side of this badass, and it was there.\u003c/p>\n\u003cp>In scenes with his family and girlfriend, and when he talks about his time in jail, it was harder to hate him. And I’m telling you, I was trying, because he is a sex-obsessed, chronically adolescent dude. But his talent is undeniable, and it’s pretty clear he has a heart. He just has no inhibitions and a lot of checkmarks in the inappropriate column (at least in this society). But that’s one of the reasons why I’m a fan of his interviews with other artists. The unconventionality of his questions makes them fresh — same thing goes for his art.\u003c/p>\n\u003cp>Locals will enjoy hearing about Choe’s time in Oakland, seeing shows in San Jose and SF, and footage of one of his self-described “sell out” corporate gigs where he and \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4553\">Kid Beyond\u003c/a> perform live for a buttoned-up crowd. The film is gritty and rough, befitting the subject. It is not for kids or straight-laced folks, due to all the blood, guts and “t and a.” If there’s one thing that can’t be shoplifted that Choe is stocked up on it’s guts, and the film is an insider’s portrait of his genuine struggle for the glory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Banksy's Tour de San Francisco",
"headTitle": "Banksy’s Tour de San Francisco | KQED",
"content": "\u003cp>Internationally-(in)famous British graffiti artist Banksy bombed San Francisco this past week and (some) people are ecstatic. Six large works of stencil art have been found around town, three in the Mission and one each in Chinatown, SOMA and the Lower Haight. Which begs, and I mean pleads, the question, would the SF graffiti task force dare to buff Banksy? We can only wait to find out what is to come, or shall I say go?\u003c/p>\n\u003cfigure id=\"attachment_10138064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg\" alt=\"Empty Parking Lot (Erie and Mission Streets)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-bird-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empty Parking Lot (Erie and Mission Streets)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something appealing and socially necessary about Banksy’s audacity of spirit. He pairs strong imagery with witty text, addressing issues that need to be considered more carefully and driving straight to the core of what’s wrong in society. A great recent example is a simple piece of text, “I don’t believe in global warming,” partially obscured by water flowing through a London canal. I call this the OCD outlet of a concerned citizen. Banksy voices his questions of authority through artwork and makes it free and accessible. Imagine walking into the Louvre and hanging your own artwork upon the wall as cavalierly as if the museum were your living room. Banksy actually pulled this stunt with a reinterpretation of the Mona Lisa, her dubious stare replaced by a yellow smiley face, and the museum later added the piece to its collection.\u003c/p>\n\u003cfigure id=\"attachment_10138063\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg\" alt=\"1309 Howard Street (at 9th Street)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-rat-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1309 Howard Street (at 9th Street)\u003c/figcaption>\u003c/figure>\n\u003cp>Illegal art is a funny thing. Banksy’s work has been known to capture a healthy sum at Sotheby’s, but may also be power-sprayed back into nothingness by the unamused. Will 300,000 visitors to his June 2009 exhibit at Bristol’s City Museum and Art Gallery translate to perceived cultural value by a public works officer who might not be familiar with or care about the man behind the work? Maybe a mass public intervention will be enough to circumvent the system. If not, we might be seeing sections of walls being cut from these buildings before they are painted out. And I say this only because people have gone to such extremes before!\u003c/p>\n\u003cp>http://youtu.be/l9xeGfZ9sXA\u003c/p>\n\u003cfigure id=\"attachment_10138062\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-line.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-line.jpg\" alt=\"1672 Haight Street (btw Belvedere and Cole Streets)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-line.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-line-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1672 Haight Street (btw Belvedere and Cole Streets)\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Department of Public Works deals with upkeep to make our city more usable, livable and beautiful. A noble effort to be sure. The City’s graffiti removal ordinance requires property owners to remove graffiti within 30 days or pay $500 for the City to remove it for them. One wonders if Public Works will take the graffiti in context and preserve the work or decide to buff it away because graff is graff afterall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I know that people care about and are excited by the work because there were people taking pictures at every spot on my go ’round. I was surprised to see an older man on his bike stop in the middle of Valencia to whip out his camera. He then gave me a smile and a nod when I took out mine.\u003c/p>\n\u003cfigure id=\"attachment_10138061\" class=\"wp-caption alignright\" style=\"max-width: 265px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg\" alt=\"2140 Mission Street (at Sycamore Street)\" width=\"265\" height=\"400\" class=\"size-full wp-image-10138061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg 265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-trespassing-198x300.jpg 198w\" sizes=\"(max-width: 265px) 100vw, 265px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2140 Mission Street (at Sycamore Street)\u003c/figcaption>\u003c/figure>\n\u003cp>But then there are the people that really don’t care and make a valiant effort to prove it. Someone tagging “otter” seems to be keeping pace with Banksy and creeping into his pieces around town. However, it looks like “otter” ran out of steam since he only managed to hit four out of the presumed six pieces. Oh, what is that phrase I am looking for, the one about riding on others’ coattails? I shouldn’t speak too soon, “otter” just might be pacing himself.\u003c/p>\n\u003cp>As of now, front of house employees from the adored buildings haven’t heard anything from the Department of Public Works. Hopefully the Graffiti Advisory Board of San Francisco will decide to preserve something so iconic and treasured by community members. But just in case, get out and see Banksy’s work while you still can.\u003c/p>\n\u003cfigure id=\"attachment_10138060\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg\" alt=\" 853 Valencia Street (btw 20th Street and Cunningham Place)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-framed-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">853 Valencia Street (btw 20th Street and Cunningham Place)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For more from Banksy, check out \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28953\">Exit Through the Gift Shop\u003c/a>, Banksy’s well-received documentary about Mr. Brainwash that premiered at the 2010 Sundance Film Festival and is now playing at the Embarcadero. Also out is his new book \u003cb>Wall and Piece\u003c/b>.\u003c/p>\n\n",
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"excerpt": "Internationally-(in)famous British graffiti artist Banksy bombed San Francisco this past week and (some) people are ecstatic. Six large works of stencil art have been found around town, three in the Mission and one each in Chinatown, SOMA and the Lower Haight.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Internationally-(in)famous British graffiti artist Banksy bombed San Francisco this past week and (some) people are ecstatic. Six large works of stencil art have been found around town, three in the Mission and one each in Chinatown, SOMA and the Lower Haight. Which begs, and I mean pleads, the question, would the SF graffiti task force dare to buff Banksy? We can only wait to find out what is to come, or shall I say go?\u003c/p>\n\u003cfigure id=\"attachment_10138064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg\" alt=\"Empty Parking Lot (Erie and Mission Streets)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-bird.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-bird-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empty Parking Lot (Erie and Mission Streets)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something appealing and socially necessary about Banksy’s audacity of spirit. He pairs strong imagery with witty text, addressing issues that need to be considered more carefully and driving straight to the core of what’s wrong in society. A great recent example is a simple piece of text, “I don’t believe in global warming,” partially obscured by water flowing through a London canal. I call this the OCD outlet of a concerned citizen. Banksy voices his questions of authority through artwork and makes it free and accessible. Imagine walking into the Louvre and hanging your own artwork upon the wall as cavalierly as if the museum were your living room. Banksy actually pulled this stunt with a reinterpretation of the Mona Lisa, her dubious stare replaced by a yellow smiley face, and the museum later added the piece to its collection.\u003c/p>\n\u003cfigure id=\"attachment_10138063\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg\" alt=\"1309 Howard Street (at 9th Street)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-rat.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-rat-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1309 Howard Street (at 9th Street)\u003c/figcaption>\u003c/figure>\n\u003cp>Illegal art is a funny thing. Banksy’s work has been known to capture a healthy sum at Sotheby’s, but may also be power-sprayed back into nothingness by the unamused. Will 300,000 visitors to his June 2009 exhibit at Bristol’s City Museum and Art Gallery translate to perceived cultural value by a public works officer who might not be familiar with or care about the man behind the work? Maybe a mass public intervention will be enough to circumvent the system. If not, we might be seeing sections of walls being cut from these buildings before they are painted out. And I say this only because people have gone to such extremes before!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l9xeGfZ9sXA'\n title='//www.youtube.com/embed/l9xeGfZ9sXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10138062\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-line.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-line.jpg\" alt=\"1672 Haight Street (btw Belvedere and Cole Streets)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-line.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-line-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1672 Haight Street (btw Belvedere and Cole Streets)\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Department of Public Works deals with upkeep to make our city more usable, livable and beautiful. A noble effort to be sure. The City’s graffiti removal ordinance requires property owners to remove graffiti within 30 days or pay $500 for the City to remove it for them. One wonders if Public Works will take the graffiti in context and preserve the work or decide to buff it away because graff is graff afterall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know that people care about and are excited by the work because there were people taking pictures at every spot on my go ’round. I was surprised to see an older man on his bike stop in the middle of Valencia to whip out his camera. He then gave me a smile and a nod when I took out mine.\u003c/p>\n\u003cfigure id=\"attachment_10138061\" class=\"wp-caption alignright\" style=\"max-width: 265px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg\" alt=\"2140 Mission Street (at Sycamore Street)\" width=\"265\" height=\"400\" class=\"size-full wp-image-10138061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-trespassing.jpg 265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-trespassing-198x300.jpg 198w\" sizes=\"(max-width: 265px) 100vw, 265px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2140 Mission Street (at Sycamore Street)\u003c/figcaption>\u003c/figure>\n\u003cp>But then there are the people that really don’t care and make a valiant effort to prove it. Someone tagging “otter” seems to be keeping pace with Banksy and creeping into his pieces around town. However, it looks like “otter” ran out of steam since he only managed to hit four out of the presumed six pieces. Oh, what is that phrase I am looking for, the one about riding on others’ coattails? I shouldn’t speak too soon, “otter” just might be pacing himself.\u003c/p>\n\u003cp>As of now, front of house employees from the adored buildings haven’t heard anything from the Department of Public Works. Hopefully the Graffiti Advisory Board of San Francisco will decide to preserve something so iconic and treasured by community members. But just in case, get out and see Banksy’s work while you still can.\u003c/p>\n\u003cfigure id=\"attachment_10138060\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg\" alt=\" 853 Valencia Street (btw 20th Street and Cunningham Place)\" width=\"400\" height=\"266\" class=\"size-full wp-image-10138060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-framed.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/05/banksy-framed-300x199.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">853 Valencia Street (btw 20th Street and Cunningham Place)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For more from Banksy, check out \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28953\">Exit Through the Gift Shop\u003c/a>, Banksy’s well-received documentary about Mr. Brainwash that premiered at the 2010 Sundance Film Festival and is now playing at the Embarcadero. Also out is his new book \u003cb>Wall and Piece\u003c/b>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In April 2010 \u003ci>Gallery Crawl\u003c/i> checked out Gallery 16’s new exhibit \u003cem>100 RECORDS\u003c/em> and interviewed creator, artist, and musician Sonny Smith, who invented and wrote 100 songs for several fictional musicians and bands and invited fellow artists to create matching album covers.\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/sonnysmith-edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jazz plays in the background at the Lush Life Gallery on Fillmore Street in San Francisco, but the images in \u003cb>Jazz Giants: The Photography of Herman Leonard\u003c/b>, now through May 16, 2010, seem to come with their own soundtrack. Featuring dozens of examples of the great jazz photographer’s work, mostly from the 1940s and ’50s, the exhibition conjures the sounds of a beer bottle hitting the floor, some old guy in the corner coughing up phlegm and those two women down front who won’t stop chattering even though Dexter Gordon has just taken the stage.\u003c/p>\n\u003cp>The show highlights candid shots and portraits, the two general types of photographs that Leonard has been producing throughout his long and legendary career. For the most part I prefer the candids, like the picture of Sonny Stitt during a 1953 performance in New York City. Stitt is sitting in a chair, sax in his lap, looking incredibly bored while he waits for Dizzy Gillespie to finish a solo. The ennui of the road and repetition of genius on cue is wearying, or so the photograph suggests.\u003c/p>\n\u003cp>That photograph was taken from the vantage point of the audience, but Leonard had remarkable access to the kings and queens of mid-century American jazz, and he used his privileged vantage point to capture moments that no one else could. An especially revealing shot is the one taken from the stage of the Downbeat Club, where Ella Fitzgerald was performing in 1949. Leonard snapped his shutter from behind the singer looking out into the crowd. Fitzgerald’s dark silhouette fills the left third or so of the picture, but his real subject is the royalty at the first table — a beaming Duke Ellington in pinstripes, an appreciative Richard Rogers to Ellington’s left and sitting a seat or two behind them both, a wide-eyed Benny Goodman, the corner of his left lip just curling into a smile.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-ella.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ella Fitzgerald, Downbeat Club, New York City, 1949\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Less interesting, to me, anyway, are Leonard’s posed photographs, which often struggle under their labored composition. In a 1949 portrait of Nat King Cole, the pianist sits at his instrument and smiles sleepily through a fussy framing of upright-bass strings on the left, the head of a D’Angelico guitar above and bongo drums below. Cole appears good natured amid the contrivance, but he doesn’t seem to be taking the whole thing very seriously, and neither do we.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, sometimes the trouble Leonard must have taken to set up his shots pays off, as in the much simpler 1950 picture of Tony Bennett embracing a Columbia Records microphone. Here, with fewer balls in the air, Leonard’s subject is not in competition with his atmospherics, and Bennett’s gentle toothy smile convinces us of the authenticity of the moment.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-bennett.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Tony Bennett, Columbia Records Studios, New York City, 1950\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The crown jewel of the exhibition is a photograph of pianist Art Tatum taken in 1955. Though a portrait in the formal sense, the photograph has all the hallmarks of a good candid shot, perhaps because the virtually blind pianist was not as preoccupied by the presence of Leonard and his gear as a fully sighted subject might have been.\u003c/p>\n\u003cp>But give Leonard credit — he saw something remarkable here and captured it. For this portrait, Leonard shot Tatum from above, accentuating the man’s high forehead as well as the fleshy lids that stretched over his near-sightless eyes. We notice both, but it’s the master’s long, slender fingers, which were known for their blazing speed on the keys, that we are most drawn to. Here, Tatum’s fingers are intertwined and perfectly still. Leonard knew photography but he also knew his jazz, which is why he understood that the most remarkable shot you could get of Art Tatum was one that showed his hands at peace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-tatum.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Art Tatum, Los Angeles, 1955\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jazz Giants: The Photography of Herman Leonard\u003c/b> runs through May 16, 2010 at the Lush Life Gallery and in the Koret Heritage Lobby at the Jazz Heritage Center in San Francisco. For \u003ca href=\"http://www.jazzheritagecenter.org/newsdetail.php?id=24\">more information\u003c/a> visit jazzheritagecenter.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jazz plays in the background at the Lush Life Gallery on Fillmore Street in San Francisco, but the images in \u003cb>Jazz Giants: The Photography of Herman Leonard\u003c/b>, now through May 16, 2010, seem to come with their own soundtrack. Featuring dozens of examples of the great jazz photographer’s work, mostly from the 1940s and ’50s, the exhibition conjures the sounds of a beer bottle hitting the floor, some old guy in the corner coughing up phlegm and those two women down front who won’t stop chattering even though Dexter Gordon has just taken the stage.\u003c/p>\n\u003cp>The show highlights candid shots and portraits, the two general types of photographs that Leonard has been producing throughout his long and legendary career. For the most part I prefer the candids, like the picture of Sonny Stitt during a 1953 performance in New York City. Stitt is sitting in a chair, sax in his lap, looking incredibly bored while he waits for Dizzy Gillespie to finish a solo. The ennui of the road and repetition of genius on cue is wearying, or so the photograph suggests.\u003c/p>\n\u003cp>That photograph was taken from the vantage point of the audience, but Leonard had remarkable access to the kings and queens of mid-century American jazz, and he used his privileged vantage point to capture moments that no one else could. An especially revealing shot is the one taken from the stage of the Downbeat Club, where Ella Fitzgerald was performing in 1949. Leonard snapped his shutter from behind the singer looking out into the crowd. Fitzgerald’s dark silhouette fills the left third or so of the picture, but his real subject is the royalty at the first table — a beaming Duke Ellington in pinstripes, an appreciative Richard Rogers to Ellington’s left and sitting a seat or two behind them both, a wide-eyed Benny Goodman, the corner of his left lip just curling into a smile.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-ella.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ella Fitzgerald, Downbeat Club, New York City, 1949\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Less interesting, to me, anyway, are Leonard’s posed photographs, which often struggle under their labored composition. In a 1949 portrait of Nat King Cole, the pianist sits at his instrument and smiles sleepily through a fussy framing of upright-bass strings on the left, the head of a D’Angelico guitar above and bongo drums below. Cole appears good natured amid the contrivance, but he doesn’t seem to be taking the whole thing very seriously, and neither do we.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, sometimes the trouble Leonard must have taken to set up his shots pays off, as in the much simpler 1950 picture of Tony Bennett embracing a Columbia Records microphone. Here, with fewer balls in the air, Leonard’s subject is not in competition with his atmospherics, and Bennett’s gentle toothy smile convinces us of the authenticity of the moment.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-bennett.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Tony Bennett, Columbia Records Studios, New York City, 1950\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The crown jewel of the exhibition is a photograph of pianist Art Tatum taken in 1955. Though a portrait in the formal sense, the photograph has all the hallmarks of a good candid shot, perhaps because the virtually blind pianist was not as preoccupied by the presence of Leonard and his gear as a fully sighted subject might have been.\u003c/p>\n\u003cp>But give Leonard credit — he saw something remarkable here and captured it. For this portrait, Leonard shot Tatum from above, accentuating the man’s high forehead as well as the fleshy lids that stretched over his near-sightless eyes. We notice both, but it’s the master’s long, slender fingers, which were known for their blazing speed on the keys, that we are most drawn to. Here, Tatum’s fingers are intertwined and perfectly still. Leonard knew photography but he also knew his jazz, which is why he understood that the most remarkable shot you could get of Art Tatum was one that showed his hands at peace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jazz-tatum.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Art Tatum, Los Angeles, 1955\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jazz Giants: The Photography of Herman Leonard\u003c/b> runs through May 16, 2010 at the Lush Life Gallery and in the Koret Heritage Lobby at the Jazz Heritage Center in San Francisco. For \u003ca href=\"http://www.jazzheritagecenter.org/newsdetail.php?id=24\">more information\u003c/a> visit jazzheritagecenter.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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