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"content": "\u003cp>Tara Foley might be sweet, but don’t mess with her. She studied karate, and some of her newest work explores the world of Victorian ninjas. She recently created a window installation for the SFMOMA Artists Gallery and is currently making a stop-motion film with local musician \u003ca href=\"http://www.myspace.com/masonlindahlsongs\">Mason Lindahl\u003c/a>. She’s also been commissioned to make a piece for the drummer of the Grammy award-winning band, Phoenix. Last week, we visited Tara’s studio and chatted about her penchant for globe-trotting, where she stands on religion, and why you shouldn’t be surprised to find her in the thick of a mosh pit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-1.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your travels and living all over the world — how did that influence your artwork?\u003c/i>\u003c/p>\n\u003cp>“It influenced me as a person. Part of the reason why I love San Francisco so much is because, growing up in Manhattan, it was huge and overwhelming and I felt like I needed to get out of there as soon as possible. I think I knew intuitively that Japan would be a place that I would love.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-13.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Did you teach in Japan?\u003c/i>\u003c/p>\n\u003cp>“Yes, I taught English and traveled a lot and loved it. I was there for three years and I learned Japanese in two years. I had my own after school program in Tokyo. I lived in India for a year after that, which was the complete polar opposite of Japan. It’s just a completely different feeling there and a different way of interacting. Those are two places that I’ve spent serious amounts of time in. I’ve been to other places too, like Mongolia.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-11.jpg\">\u003c/p>\n\u003cp>\u003ci>What did you do there?\u003c/i>\u003c/p>\n\u003cp>“I have an aunt who is half Mongolian. She grew up in a refugee camp in the Ukraine. My aunt is Calmic so she speaks an older version of Mongolian that’s still kept alive. She also speaks Russian; people in Mongolia speak both languages. It’s really interesting to trace how society is growing through the transitions of language. We were part of this movement to reinvigorate Buddhism in Mongolia. She really believed strongly in bringing Buddhism back to Mongolia as part of the cultural tradition and heritage.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-7.jpg\">\u003c/p>\n\u003cp>\u003ci>Are you Buddhist now?\u003c/i>\u003c/p>\n\u003cp>“I could say yes because I was partly raised Zen Buddhist by my father. At first he raised me Catholic until I was 12 and then he said, “I’m not actually interested in Catholicism, I just wanted you to experience part of my past.” My dad’s actually really anti-religion so it’s interesting that he chose to raise me Catholic. He asked me to choose and I definitely thought Buddhism sounded like a much better deal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-10.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some of your major influences?\u003c/i>\u003c/p>\n\u003cp>“My mom passed away, which is a lot of what my art is about definitely. In 2007, my mom was diagnosed, and she died at the end of the year. I was trying to be as bi-coastal as possible during that time. Since I was on the plane so much and waiting in airports, I just needed to draw with pen and paper, so that’s what really got me into the line work. I think that a lot of artists, when they work with lines, they discover hair. A line looks like a strand of hair. Part of my mom’s beauty was this thick head of hair. She had it down to her butt for many years. So basically I was drawing her. There’s still elements of her hair now, but it’s not actually representing hair at this point, it’s just shading. It’s become more of a devotional expression to her.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-2.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about the drawings you’re working on now.\u003c/i>\u003c/p>\n\u003cp>“This is the first time I’m working with watercolor, it’s new for me. Part of what’s amazing about watercolor is the accidents that happen and the way that things collide, and interact and bleed together. I worked with gouache for many years. At first I loved the matte characteristics, and the blocking out of space, and the really clean lines and shapes that you can make. As a reaction to that, I completely switched to pen, which is almost the opposite of flat surfaces and solid colors.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-6.jpg\">\u003c/p>\n\u003cp>\u003ci>Where did your obsession with Victorian ninjas come from?\u003c/i>\u003c/p>\n\u003cp>“I did a lot of martial arts as a young lady. I was fascinated with the power, tradition and culture that goes with it. And of course I’m a woman so there are issues of feminism. The idea behind my SFMOMA Artists Gallery show called \u003cb>Warriors of the Shadow Self\u003c/b> was these female Victorian ninjas but they’re not really fighting each other, they’re fighting themselves. It’s more about women’s internal battles throughout time.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-3.jpg\">\u003c/p>\n\u003cp>\u003ci>What music could best represent your artwork?\u003c/i>\u003c/p>\n\u003cp>“Is it bad to say one of your favorite bands? I love The Melvins. I’ve noticed that these churches I’m making are starting to look a little heavy metal. I love sludge metal but I don’t know if I necessarily want my art to look like that. I love hardcore music over metal, and these look really heavy metal to me sometimes. I just went to a Cromags show, I really like mosh pits.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-12.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See a new installation by Tara at \u003ca href=\"http://206.130.104.2/soap-gallery/\">Soap Gallery\u003c/a> in June and at SFMOMA Artists Gallery later this summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tara Foley might be sweet, but don’t mess with her. She studied karate, and some of her newest work explores the world of Victorian ninjas. She recently created a window installation for the SFMOMA Artists Gallery and is currently making a stop-motion film with local musician \u003ca href=\"http://www.myspace.com/masonlindahlsongs\">Mason Lindahl\u003c/a>. She’s also been commissioned to make a piece for the drummer of the Grammy award-winning band, Phoenix. Last week, we visited Tara’s studio and chatted about her penchant for globe-trotting, where she stands on religion, and why you shouldn’t be surprised to find her in the thick of a mosh pit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-1.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your travels and living all over the world — how did that influence your artwork?\u003c/i>\u003c/p>\n\u003cp>“It influenced me as a person. Part of the reason why I love San Francisco so much is because, growing up in Manhattan, it was huge and overwhelming and I felt like I needed to get out of there as soon as possible. I think I knew intuitively that Japan would be a place that I would love.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-13.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Did you teach in Japan?\u003c/i>\u003c/p>\n\u003cp>“Yes, I taught English and traveled a lot and loved it. I was there for three years and I learned Japanese in two years. I had my own after school program in Tokyo. I lived in India for a year after that, which was the complete polar opposite of Japan. It’s just a completely different feeling there and a different way of interacting. Those are two places that I’ve spent serious amounts of time in. I’ve been to other places too, like Mongolia.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-11.jpg\">\u003c/p>\n\u003cp>\u003ci>What did you do there?\u003c/i>\u003c/p>\n\u003cp>“I have an aunt who is half Mongolian. She grew up in a refugee camp in the Ukraine. My aunt is Calmic so she speaks an older version of Mongolian that’s still kept alive. She also speaks Russian; people in Mongolia speak both languages. It’s really interesting to trace how society is growing through the transitions of language. We were part of this movement to reinvigorate Buddhism in Mongolia. She really believed strongly in bringing Buddhism back to Mongolia as part of the cultural tradition and heritage.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-7.jpg\">\u003c/p>\n\u003cp>\u003ci>Are you Buddhist now?\u003c/i>\u003c/p>\n\u003cp>“I could say yes because I was partly raised Zen Buddhist by my father. At first he raised me Catholic until I was 12 and then he said, “I’m not actually interested in Catholicism, I just wanted you to experience part of my past.” My dad’s actually really anti-religion so it’s interesting that he chose to raise me Catholic. He asked me to choose and I definitely thought Buddhism sounded like a much better deal.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-10.jpg\">\u003c/p>\n\u003cp>\u003ci>What are some of your major influences?\u003c/i>\u003c/p>\n\u003cp>“My mom passed away, which is a lot of what my art is about definitely. In 2007, my mom was diagnosed, and she died at the end of the year. I was trying to be as bi-coastal as possible during that time. Since I was on the plane so much and waiting in airports, I just needed to draw with pen and paper, so that’s what really got me into the line work. I think that a lot of artists, when they work with lines, they discover hair. A line looks like a strand of hair. Part of my mom’s beauty was this thick head of hair. She had it down to her butt for many years. So basically I was drawing her. There’s still elements of her hair now, but it’s not actually representing hair at this point, it’s just shading. It’s become more of a devotional expression to her.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-2.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about the drawings you’re working on now.\u003c/i>\u003c/p>\n\u003cp>“This is the first time I’m working with watercolor, it’s new for me. Part of what’s amazing about watercolor is the accidents that happen and the way that things collide, and interact and bleed together. I worked with gouache for many years. At first I loved the matte characteristics, and the blocking out of space, and the really clean lines and shapes that you can make. As a reaction to that, I completely switched to pen, which is almost the opposite of flat surfaces and solid colors.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-6.jpg\">\u003c/p>\n\u003cp>\u003ci>Where did your obsession with Victorian ninjas come from?\u003c/i>\u003c/p>\n\u003cp>“I did a lot of martial arts as a young lady. I was fascinated with the power, tradition and culture that goes with it. And of course I’m a woman so there are issues of feminism. The idea behind my SFMOMA Artists Gallery show called \u003cb>Warriors of the Shadow Self\u003c/b> was these female Victorian ninjas but they’re not really fighting each other, they’re fighting themselves. It’s more about women’s internal battles throughout time.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foley-3.jpg\">\u003c/p>\n\u003cp>\u003ci>What music could best represent your artwork?\u003c/i>\u003c/p>\n\u003cp>“Is it bad to say one of your favorite bands? I love The Melvins. I’ve noticed that these churches I’m making are starting to look a little heavy metal. I love sludge metal but I don’t know if I necessarily want my art to look like that. I love hardcore music over metal, and these look really heavy metal to me sometimes. I just went to a Cromags show, I really like mosh pits.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tara-12.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See a new installation by Tara at \u003ca href=\"http://206.130.104.2/soap-gallery/\">Soap Gallery\u003c/a> in June and at SFMOMA Artists Gallery later this summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The African Continuum: Sacred Ceremonies and Rituals",
"headTitle": "The African Continuum: Sacred Ceremonies and Rituals | KQED",
"content": "\u003cp>“I don’t practice Santería, I ain’t got no Crystal Ball, well I had a million dollars, but I spent it all,” Brad Nowell crooned on the track “Santería,” one of Sublime’s most famous songs. Sublime was a band of three white kids from Long Beach, California, so a person would be justified in wondering what they could possibly know about a religion from West Africa that’s practiced predominately in the Caribbean. But pay a visit to the Museum of African Diaspora and check out their new exhibit \u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> and it all starts to make a little more sense. \u003c/p>\n\u003cp>\u003cb>The African Continuum\u003c/b> documents the rituals and ceremonies of “New World faiths,” Santería, Vodou and Candomblé, religions that have their roots in ancient African practices, as they are practiced today in areas that were once major destinations of the Atlantic slave trade. Santería, Vodou and Candomblé are syncretic religions — faiths in which elements from different religions are adopted and blended together, in these cases elements of Roman Catholicism and Congolese practices.\u003c/p>\n\u003cp>The exhibit, on display until August 28, 2010, consists of a collection of photographs documenting ceremonies, altars, and rituals around Brazil, Haiti, Cuba, New Orleans, and South Carolina, two altars created by a high priestess of Haitin Vodou and a number of \u003ci>dwapo\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Dwapo\u003c/i> are Haitain Vodou flags, traditionally unfurled at the beginning of a ceremony as a welcome to spirits. They are brightly colored, sequined and beaded with intricate detail. The sequins are meant to attract deities, and the beads depict the earthly shape they would take. Priests or priestesses draw the same outlines at the start of a ceremony in the dirt or ash then dance until long after the designs are ground up and swept away — the idea is that spirits enter the feet of practitioners and a possess them in dance.\u003c/p>\n\u003cp>Among Wiley’s photographs are images of practitioners dancing in religious fervor, as well as images of other rituals, and practices and altars, captured by the artists over the last ten years spent observing and documenting religious practices in South America, the Carribean, and the southern United States. Some of the most captivating images are not of the people or things, but places: a foggy sunset from St. Helena Island, South Carolina, a palm-dotted landscape shot from a train in Cuba, a rusted and lichen-covered cemetery in Beaufort. There is a palpable presence in the photographs; they seem as invested with spirit as the ones that feature living subjects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What may be most interesting about the photographs though is what they show when considered together — a collage depicting the evolution of a religion. All three faiths have common origin, but have taken root in different places, and the images illustrate how the people in those places have taken them on and made them their own.\u003c/p>\n\u003cp>The exhibit includes two altars created by Dowoti Désir, a Haitian-American and a highest priestess of Haitian Vodun. They are large tables draped with fabric, and adorned with candles, clay pots, gourds, sequined \u003ci>dwapo\u003c/i>, bottles of water, bottles of perfume, sequined bottles, incense, candy, coins and paper money.\u003c/p>\n\u003cp>Wiley’s photographs of altars reflect the diversity created as the religions evolved in response to their different environments. An altar at the base of a tree in New Orleans features a jar of honey, a bottle of Bacardi and a pack of cigarettes, another in Cuba has a skull and a cigar. A note at the entrance to the exhibit tells visitors “British gin now regularly replaces the plam wine that is traditional in Nigeria, rum is the choice in the Carribean, and for disenfranchised youth in many American urban centers it is a 40 oz. bottle of beer.” Which brings me back to Sublime, it seems “40 oz. to Freedom” may be a little more universal a sentiment than one might initially suppose. It’s this sense of connectivity that lasts after leaving “The African Continuum.” After seeing ancient religious practices transported and transformed from Africa to Brazil, Haiti, Cuba, and New Orleans, Long Beach doesn’t seem too much farther at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> will be on display until August 28 at the \u003ca href=\"http://www.moadsf.org\">Museum of African Diaspora\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I don’t practice Santería, I ain’t got no Crystal Ball, well I had a million dollars, but I spent it all,” Brad Nowell crooned on the track “Santería,” one of Sublime’s most famous songs. Sublime was a band of three white kids from Long Beach, California, so a person would be justified in wondering what they could possibly know about a religion from West Africa that’s practiced predominately in the Caribbean. But pay a visit to the Museum of African Diaspora and check out their new exhibit \u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> and it all starts to make a little more sense. \u003c/p>\n\u003cp>\u003cb>The African Continuum\u003c/b> documents the rituals and ceremonies of “New World faiths,” Santería, Vodou and Candomblé, religions that have their roots in ancient African practices, as they are practiced today in areas that were once major destinations of the Atlantic slave trade. Santería, Vodou and Candomblé are syncretic religions — faiths in which elements from different religions are adopted and blended together, in these cases elements of Roman Catholicism and Congolese practices.\u003c/p>\n\u003cp>The exhibit, on display until August 28, 2010, consists of a collection of photographs documenting ceremonies, altars, and rituals around Brazil, Haiti, Cuba, New Orleans, and South Carolina, two altars created by a high priestess of Haitin Vodou and a number of \u003ci>dwapo\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Dwapo\u003c/i> are Haitain Vodou flags, traditionally unfurled at the beginning of a ceremony as a welcome to spirits. They are brightly colored, sequined and beaded with intricate detail. The sequins are meant to attract deities, and the beads depict the earthly shape they would take. Priests or priestesses draw the same outlines at the start of a ceremony in the dirt or ash then dance until long after the designs are ground up and swept away — the idea is that spirits enter the feet of practitioners and a possess them in dance.\u003c/p>\n\u003cp>Among Wiley’s photographs are images of practitioners dancing in religious fervor, as well as images of other rituals, and practices and altars, captured by the artists over the last ten years spent observing and documenting religious practices in South America, the Carribean, and the southern United States. Some of the most captivating images are not of the people or things, but places: a foggy sunset from St. Helena Island, South Carolina, a palm-dotted landscape shot from a train in Cuba, a rusted and lichen-covered cemetery in Beaufort. There is a palpable presence in the photographs; they seem as invested with spirit as the ones that feature living subjects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What may be most interesting about the photographs though is what they show when considered together — a collage depicting the evolution of a religion. All three faiths have common origin, but have taken root in different places, and the images illustrate how the people in those places have taken them on and made them their own.\u003c/p>\n\u003cp>The exhibit includes two altars created by Dowoti Désir, a Haitian-American and a highest priestess of Haitian Vodun. They are large tables draped with fabric, and adorned with candles, clay pots, gourds, sequined \u003ci>dwapo\u003c/i>, bottles of water, bottles of perfume, sequined bottles, incense, candy, coins and paper money.\u003c/p>\n\u003cp>Wiley’s photographs of altars reflect the diversity created as the religions evolved in response to their different environments. An altar at the base of a tree in New Orleans features a jar of honey, a bottle of Bacardi and a pack of cigarettes, another in Cuba has a skull and a cigar. A note at the entrance to the exhibit tells visitors “British gin now regularly replaces the plam wine that is traditional in Nigeria, rum is the choice in the Carribean, and for disenfranchised youth in many American urban centers it is a 40 oz. bottle of beer.” Which brings me back to Sublime, it seems “40 oz. to Freedom” may be a little more universal a sentiment than one might initially suppose. It’s this sense of connectivity that lasts after leaving “The African Continuum.” After seeing ancient religious practices transported and transformed from Africa to Brazil, Haiti, Cuba, and New Orleans, Long Beach doesn’t seem too much farther at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> will be on display until August 28 at the \u003ca href=\"http://www.moadsf.org\">Museum of African Diaspora\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A death-centric mindset drew friends Kara Tanaka and Marco Rios into collaboration for Yerba Buena Center for the Arts. The resulting exhibit \u003cb>Death’s Boutique\u003c/b> gave rise to a broader evaluation of alternative burial techniques and premeditated ends. The duo traveled to Sweden in exploration of an environmentally friendly method of human decomposition and continued on to Lithuania to fathom its impetuous standing for highest suicide rate.\u003c/p>\n\u003cp>Rios’ witty wordplay and gruesome humor morphed the somber and impersonal first impression of the exhibit. For the postmortem process, fanciful and slightly over-sized poly-jet resin instruments, such as his “Affectionate Cranial Scoop,” were reminiscent of ancient Egyptian embalming tools. But I’m sure not too many Egyptians would have employed Rios’ “Heart Extractor” since that particular organ was an afterlife essential. Yet, the artist’s use of a 3D printer for sculptural execution seemed quite impersonal. I want to take my time to inspect and feel the physical effort and emotional intensity in a work. An image manipulated through CAD and printed in successive layers is less enticing. Once I get the joke, I’m gone.\u003c/p>\n\u003cp>Tanaka focused on the environmental benefit of freeze-dried remains through her adeptly named series “Social Leveler (When Immortality Became Uncouth).” Twelve identical pink sugar sculptures clustered in the middle left of the gallery and reached from three to eight inches in height as they sat atop individual pedestals. From the left wall protruded a much larger “Social Leveler (LeMoyne Deluxe)” to set the scene. One could almost imagine the body being submerged in liquid nitrogen within this metal coffin-esqe container and coming out as the pink powdery remains Tanaka so skillfully recreated. Was that too much? I promise it looks a lot milder than it sounds.\u003c/p>\n\u003cp>The shady grass outside Yerba Buena seduced significantly more people on the warm Saturday afternoon. The inside of the second floor gallery space holding \u003cb>Death’s Boutique\u003c/b> was sparse at best. A young couple meandered into the small gallery, glazed over the show’s entirety without comment, chose a few pieces to hone in on and leisurely walked out within a matter of minutes. I didn’t blame them. I would have rather read an essay on the artists’ findings since their work didn’t quite reflect a bulk of the exhibit’s premise.\u003c/p>\n\u003cp>\u003cb>Death’s Boutique\u003c/b> is on view through April 25, 2010 at Yerba Buena Center for the Arts in San Francisco. \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9712\">For tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A death-centric mindset drew friends Kara Tanaka and Marco Rios into collaboration for Yerba Buena Center for the Arts. The resulting exhibit \u003cb>Death’s Boutique\u003c/b> gave rise to a broader evaluation of alternative burial techniques and premeditated ends. The duo traveled to Sweden in exploration of an environmentally friendly method of human decomposition and continued on to Lithuania to fathom its impetuous standing for highest suicide rate.\u003c/p>\n\u003cp>Rios’ witty wordplay and gruesome humor morphed the somber and impersonal first impression of the exhibit. For the postmortem process, fanciful and slightly over-sized poly-jet resin instruments, such as his “Affectionate Cranial Scoop,” were reminiscent of ancient Egyptian embalming tools. But I’m sure not too many Egyptians would have employed Rios’ “Heart Extractor” since that particular organ was an afterlife essential. Yet, the artist’s use of a 3D printer for sculptural execution seemed quite impersonal. I want to take my time to inspect and feel the physical effort and emotional intensity in a work. An image manipulated through CAD and printed in successive layers is less enticing. Once I get the joke, I’m gone.\u003c/p>\n\u003cp>Tanaka focused on the environmental benefit of freeze-dried remains through her adeptly named series “Social Leveler (When Immortality Became Uncouth).” Twelve identical pink sugar sculptures clustered in the middle left of the gallery and reached from three to eight inches in height as they sat atop individual pedestals. From the left wall protruded a much larger “Social Leveler (LeMoyne Deluxe)” to set the scene. One could almost imagine the body being submerged in liquid nitrogen within this metal coffin-esqe container and coming out as the pink powdery remains Tanaka so skillfully recreated. Was that too much? I promise it looks a lot milder than it sounds.\u003c/p>\n\u003cp>The shady grass outside Yerba Buena seduced significantly more people on the warm Saturday afternoon. The inside of the second floor gallery space holding \u003cb>Death’s Boutique\u003c/b> was sparse at best. A young couple meandered into the small gallery, glazed over the show’s entirety without comment, chose a few pieces to hone in on and leisurely walked out within a matter of minutes. I didn’t blame them. I would have rather read an essay on the artists’ findings since their work didn’t quite reflect a bulk of the exhibit’s premise.\u003c/p>\n\u003cp>\u003cb>Death’s Boutique\u003c/b> is on view through April 25, 2010 at Yerba Buena Center for the Arts in San Francisco. \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9712\">For tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After four years at White Walls Gallery, artist/curator Andres Guerrero has split off and opened his own art venue in the Mission. The inaugural show at Guerrero Gallery is bold, featuring newly commissioned work by “Lowbrow” and “New Brow” artists, some recognizable from White Walls’ corral (Shepard Fairey, AJ Fosik, Adam 5-100, and Richard Colman). But there are also new faces, and an impressive Hilary Pecis collage pops at the entrance, hopefully signaling that female artists’ work will be shown prominently at Guerrero’s new spot in the future.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guerrero-g.jpg\">\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.juxtapoz.com/Features/exclusive-interview-with-andres-guerrero-plus-sneak-peek-at-new-art\">interview with Guerrero\u003c/a> on Juxtpoz.com, he said he plans to “expand off of what was developed at White Walls,” and elevate the representation of the artwork he’ll exhibit. His new space seems like the perfect place to do that. Halfway across town from the gallery where Guerrero cut his teeth, the new gallery is a converted warehouse with huge walls, exposed wooden beams up top, and a slick, lacquered concrete floor. With a little help from his friends, Guerrero created a large, bright, professional gallery from the ground up. My favorite part was the hot pink entryway behind the “G” initialed roll-up door. The hot pink theme made its way to the inaugural show’s postcard, too. One step further and the gallery could’ve been called Pink Walls. I wouldn’t mind. Jokes aside, Guerrero clearly put his heart and soul into his shiny, new gallery and it shows.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guerrero-gg.jpg\">\u003c/p>\n\u003cp>White Walls brought fresh meat to the art world, and most artists they represent have enjoyed a fast and crazy ride toward fame and recognition. The opening of a new gallery that expands this family, and supports a growing movement is something that is impossible not to support. In San Francisco, we are lucky to have clusters of galleries and artist-run spaces in almost every neighborhood. Straight out of the gate, Guerrero Gallery is an incredibly strong addition to the mix, and its first year is likely to be a big one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guerrero Gallery is open for business Tuesday-Saturday 11am-7pm, Sunday 12pm-5pm. The \u003cb>Inaugural Group Show\u003c/b> will be on view through March 27, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After four years at White Walls Gallery, artist/curator Andres Guerrero has split off and opened his own art venue in the Mission. The inaugural show at Guerrero Gallery is bold, featuring newly commissioned work by “Lowbrow” and “New Brow” artists, some recognizable from White Walls’ corral (Shepard Fairey, AJ Fosik, Adam 5-100, and Richard Colman). But there are also new faces, and an impressive Hilary Pecis collage pops at the entrance, hopefully signaling that female artists’ work will be shown prominently at Guerrero’s new spot in the future.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guerrero-g.jpg\">\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.juxtapoz.com/Features/exclusive-interview-with-andres-guerrero-plus-sneak-peek-at-new-art\">interview with Guerrero\u003c/a> on Juxtpoz.com, he said he plans to “expand off of what was developed at White Walls,” and elevate the representation of the artwork he’ll exhibit. His new space seems like the perfect place to do that. Halfway across town from the gallery where Guerrero cut his teeth, the new gallery is a converted warehouse with huge walls, exposed wooden beams up top, and a slick, lacquered concrete floor. With a little help from his friends, Guerrero created a large, bright, professional gallery from the ground up. My favorite part was the hot pink entryway behind the “G” initialed roll-up door. The hot pink theme made its way to the inaugural show’s postcard, too. One step further and the gallery could’ve been called Pink Walls. I wouldn’t mind. Jokes aside, Guerrero clearly put his heart and soul into his shiny, new gallery and it shows.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guerrero-gg.jpg\">\u003c/p>\n\u003cp>White Walls brought fresh meat to the art world, and most artists they represent have enjoyed a fast and crazy ride toward fame and recognition. The opening of a new gallery that expands this family, and supports a growing movement is something that is impossible not to support. In San Francisco, we are lucky to have clusters of galleries and artist-run spaces in almost every neighborhood. Straight out of the gate, Guerrero Gallery is an incredibly strong addition to the mix, and its first year is likely to be a big one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’ve been worrying about my paintings looking like other artists’ work, even the artists I don’t yet know about. I was particularly wrapped up in this conundrum when I hit the Tenderloin for a couple of gallery openings last week. I walked into Ever Gold Gallery’s latest exhibit, \u003cb>PLASTASTIK\u003c/b> and was instantly reminded of local heroes, the \u003ca href=\"http://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a> artists. To me, immediately recognizable colors, materials, style and imagery screamed Alicia McCarthy and \u003ca href=\"http://www.andrewschoultz.com/\">Andrew Schoultz\u003c/a>. But this was the work of David Marc Grant, a local artist who attended the San Francisco Art Institute and is admittedly influenced by the “Mission School” and “\u003ca href=\"http://en.wikipedia.org/wiki/Lowbrow_%28art_movement%29\">Lowbrow\u003c/a>” art movements. Read an \u003ca href=\"http://www.evergoldgallery.com/2010/02/interview-david-marc-grant.html\">interview with Grant\u003c/a> at evergoldgallery.com.\u003c/p>\n\u003cp>Mission School, or New Mission School. Lowbrow or New Brow. However you label these genres and sub-genres of stylistically familiar artists, their influence is huge and it is trickling down fast and furiously. There are artists coast-to-coast who might fit in to these categories or appear to be influenced by them, but I’m sensing a new movement forming with a localized concentration. If I could label this new group of artists and galleries sprouting up, I’d call it the ‘Loin School and I’d say it is characterized by an optimistic aesthetic shrouding a pessimistic (read: realistic) viewpoint. This art reminds you that it’s pretty amazing you’re still alive, because the world is a hot mess.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chadwick-heath-moore.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Speaking of hot messes, Grant’s collaborator, Chadwick Heath Moore created some sculptures for the show. Amalgamations of water bottles split down the middle, plastic Easter eggs, straws, and other PLASTASTIK detritus were bound together in crawling clumps that hung from the wall and ceiling. In a small room at the back of the gallery, a spidery plastic installation was illuminated with white/blue neon lights. During the opening, people slumped on the floor beneath it like they were in the “chill room” at a rave. What made me give up some love for Moore’s work was the discovery of a few tiny plastic pies stuffed in the sculpture’s nooks. I realized how detailed the work was, and when I read this \u003ca href=\"http://www.evergoldgallery.com/2010/02/age-location-occupation-34-san.html\">interview with the artist\u003c/a>, I appreciated how he talked about wire and plastic functioning the same way as paint and pencil in his eyes. And I could obviously see a connection with \u003ca href=\"http://en.wikipedia.org/wiki/Great_Pacific_Garbage_Patch/\">The Great Pacific Garbage Patch\u003c/a>, which both of the artists were pondering when they conceived the show. I’ve met a few other artists who were similarly inspired by \u003ca href=\"http://en.wikipedia.org/wiki/File:Albatross_chick_plastic.jpg\">this dead bird\u003c/a>, and I wouldn’t mind seeing a few more artists commenting on plastic’s destruction. Plastic brought us so much joy growing up in the form of toys and collectible cups, and we rely on it for many things. But now it’s also a mass of horrendousness that is literally suffocating the world. There is a lot to say about it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/david-marc-grant.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Back to Grant’s paintings. The minute I saw them, I wished I’d made them myself. His rainbow stripes and piled up imagery of structures and objects painted on box panels and book covers were very inviting, despite their commentary on environmental degradation. His work reminded me that it’s not a crime to wear your influences proudly, because the message (and the messenger) can never be exactly the same. Art is meant to create conflicting opinions, and there is always room for a comparable contribution from the new school. Some of the Mission School artists focused on street culture and classism, initiating a conversation that still rages today. ‘Loin School artists like Grant and Moore are continuing that dialogue with updated concerns that reflect the most current (and calamitous) global issues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>PLASTASTIK\u003c/b> is on view through March 25, 2010 at Ever Gold Gallery in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been worrying about my paintings looking like other artists’ work, even the artists I don’t yet know about. I was particularly wrapped up in this conundrum when I hit the Tenderloin for a couple of gallery openings last week. I walked into Ever Gold Gallery’s latest exhibit, \u003cb>PLASTASTIK\u003c/b> and was instantly reminded of local heroes, the \u003ca href=\"http://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a> artists. To me, immediately recognizable colors, materials, style and imagery screamed Alicia McCarthy and \u003ca href=\"http://www.andrewschoultz.com/\">Andrew Schoultz\u003c/a>. But this was the work of David Marc Grant, a local artist who attended the San Francisco Art Institute and is admittedly influenced by the “Mission School” and “\u003ca href=\"http://en.wikipedia.org/wiki/Lowbrow_%28art_movement%29\">Lowbrow\u003c/a>” art movements. Read an \u003ca href=\"http://www.evergoldgallery.com/2010/02/interview-david-marc-grant.html\">interview with Grant\u003c/a> at evergoldgallery.com.\u003c/p>\n\u003cp>Mission School, or New Mission School. Lowbrow or New Brow. However you label these genres and sub-genres of stylistically familiar artists, their influence is huge and it is trickling down fast and furiously. There are artists coast-to-coast who might fit in to these categories or appear to be influenced by them, but I’m sensing a new movement forming with a localized concentration. If I could label this new group of artists and galleries sprouting up, I’d call it the ‘Loin School and I’d say it is characterized by an optimistic aesthetic shrouding a pessimistic (read: realistic) viewpoint. This art reminds you that it’s pretty amazing you’re still alive, because the world is a hot mess.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chadwick-heath-moore.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Speaking of hot messes, Grant’s collaborator, Chadwick Heath Moore created some sculptures for the show. Amalgamations of water bottles split down the middle, plastic Easter eggs, straws, and other PLASTASTIK detritus were bound together in crawling clumps that hung from the wall and ceiling. In a small room at the back of the gallery, a spidery plastic installation was illuminated with white/blue neon lights. During the opening, people slumped on the floor beneath it like they were in the “chill room” at a rave. What made me give up some love for Moore’s work was the discovery of a few tiny plastic pies stuffed in the sculpture’s nooks. I realized how detailed the work was, and when I read this \u003ca href=\"http://www.evergoldgallery.com/2010/02/age-location-occupation-34-san.html\">interview with the artist\u003c/a>, I appreciated how he talked about wire and plastic functioning the same way as paint and pencil in his eyes. And I could obviously see a connection with \u003ca href=\"http://en.wikipedia.org/wiki/Great_Pacific_Garbage_Patch/\">The Great Pacific Garbage Patch\u003c/a>, which both of the artists were pondering when they conceived the show. I’ve met a few other artists who were similarly inspired by \u003ca href=\"http://en.wikipedia.org/wiki/File:Albatross_chick_plastic.jpg\">this dead bird\u003c/a>, and I wouldn’t mind seeing a few more artists commenting on plastic’s destruction. Plastic brought us so much joy growing up in the form of toys and collectible cups, and we rely on it for many things. But now it’s also a mass of horrendousness that is literally suffocating the world. There is a lot to say about it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/david-marc-grant.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Back to Grant’s paintings. The minute I saw them, I wished I’d made them myself. His rainbow stripes and piled up imagery of structures and objects painted on box panels and book covers were very inviting, despite their commentary on environmental degradation. His work reminded me that it’s not a crime to wear your influences proudly, because the message (and the messenger) can never be exactly the same. Art is meant to create conflicting opinions, and there is always room for a comparable contribution from the new school. Some of the Mission School artists focused on street culture and classism, initiating a conversation that still rages today. ‘Loin School artists like Grant and Moore are continuing that dialogue with updated concerns that reflect the most current (and calamitous) global issues.\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>PLASTASTIK\u003c/b> is on view through March 25, 2010 at Ever Gold Gallery in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the second you walk in the door at Catharine Clark Gallery, it’s apparent that the title of Travis Somerville’s newest body of work, \u003cb>Rededicated to the Proposition\u003c/b>, a reference to the Gettysburg address, isn’t meant as an activist’s call so much as an ironic statement.\u003c/p>\n\u003cp>Two huge paintings contain images of isolated and abandoned houses in combination with the heads of Martin Luther King, Jr. and Abraham Lincoln. It’s grim — in “The New Land of Lincoln” (2009), a raven picks at Lincoln and a gun is abandoned on the grass nearby. In “Atrophied Landscape” (2009), a lone house is perched on top of MLK’s head. For me, the reference here is the revolutionary practice of decapitating sculptures from the old regime, and the contrast between these images and the luxury-ads from 1960’s magazines that Somerville paints on is chilling.\u003c/p>\n\u003cp>In the middle of the room, interrupting and dominating everything else, is “Great American Let Down” (2009). It’s a sculpture, but really, it’s the top quarter of a corrugated-metal shack. “Great American Let Down” punctures the floor in a way that, given enough distance, makes it look as though the rest of the shack is underwater. There are hundreds of framed vintage photographs standing vertically on the roof, everyone of them hand-painted by Somerville so that the people in the photographs also seem in danger of drowning, trapped in a sea of blue paint.\u003c/p>\n\u003cp>According to the gallerist, the whole front room is an allusion to Katrina and its aftermath, but the first thoughts that came to my mind were of our drowning housing market and all of the destroyed dreams of white-picket fences, a fallout which has traveled directly along race and class lines.\u003c/p>\n\u003cp>The show is a direct challenge to anyone suffering from the delusion that we live in a post-racial utopia. And in case this isn’t made clear by Somerville’s typical in-your-face strategy of mixing images of racial stereotypes with those of icons like JFK and Martin Luther King, Jr., the title of the show itself is an allusion-cum-question aimed at one of the founding myths of the United States: that we are a nation “dedicated to the proposition that all men are created equal.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is worth a visit just for the front room experience, but as an added bonus, this month Catharine Clark is featuring \u003cb>Happy Am I\u003c/b>, a video by the Los Angeles-based artist Erin Cosgrove, in the Media Room. \u003cb>Happy Am I\u003c/b> is an animated song and dance routine set to a 1930’s liturgical piece. The video moves us quickly through the first tens of thousands of years of evolution to a “Small World After All”-like-setting where a creature with a blue cod piece who looks like a combination of South Park’s \u003ca href=\"http://www.comedycentral.com/press/images/southpark/MrMackey.jpg\">Mr.Mackey\u003c/a> and a yeti ambles along, singing cheerily about meeting his redeemer. In the background (singing the chorus) is a line of gods, goddesses and other historical and cultural icons, including (I think) Joan of Arc, a head from Easter Island, one of the ent from Lord of the Rings, and a Japanese schoolgirl. The sun bops merrily through, everyone is happy, and the world ends abruptly.\u003c/p>\n\u003cp>Always sardonic and usually complicated, Cosgrove works in video and new media forms that tend to interrogate religion through popular culture. \u003cb>Happy Am I\u003c/b> is a little more of a one-liner than I’m used to from her, but as I haven’t seen Cosgrove show in San Francisco before, happy am I to see her represented here, period. Hopefully this means we’ll get to see more of her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rededicated to the Proposition…\u003c/b> and \u003cb>Happy Am I\u003c/b> are showing at the Catharine Clark Gallery through April 3, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is worth a visit just for the front room experience, but as an added bonus, this month Catharine Clark is featuring \u003cb>Happy Am I\u003c/b>, a video by the Los Angeles-based artist Erin Cosgrove, in the Media Room. \u003cb>Happy Am I\u003c/b> is an animated song and dance routine set to a 1930’s liturgical piece. The video moves us quickly through the first tens of thousands of years of evolution to a “Small World After All”-like-setting where a creature with a blue cod piece who looks like a combination of South Park’s \u003ca href=\"http://www.comedycentral.com/press/images/southpark/MrMackey.jpg\">Mr.Mackey\u003c/a> and a yeti ambles along, singing cheerily about meeting his redeemer. In the background (singing the chorus) is a line of gods, goddesses and other historical and cultural icons, including (I think) Joan of Arc, a head from Easter Island, one of the ent from Lord of the Rings, and a Japanese schoolgirl. The sun bops merrily through, everyone is happy, and the world ends abruptly.\u003c/p>\n\u003cp>Always sardonic and usually complicated, Cosgrove works in video and new media forms that tend to interrogate religion through popular culture. \u003cb>Happy Am I\u003c/b> is a little more of a one-liner than I’m used to from her, but as I haven’t seen Cosgrove show in San Francisco before, happy am I to see her represented here, period. Hopefully this means we’ll get to see more of her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rededicated to the Proposition…\u003c/b> and \u003cb>Happy Am I\u003c/b> are showing at the Catharine Clark Gallery through April 3, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Suzanne Husky planted herself in San Francisco after spending much of her life in Bordeaux, France. She is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made \u003ca href=\"http://www.themarmaladeproject.blogspot.com/\">marmalade\u003c/a> for the masses. Recently, she even created a musical project that helped set our troubled environment back on course. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I invaded her Dog Patch studio to find out what’s next for this artist who is doing her part to make things right with the world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-husky.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the different mediums you work with.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d say there are three major ones. One is sculpture with textiles, which I’ve done a lot of, and I always go back to. And then I have a documentary practice that I’m leaning more and more towards. I’ve documented a lot of environmental activists, first in the East Bay and then in France — people who sculpt their houses out of recycled materials. I use recycled materials to sculpt, and they sculpt their homes out of recycled material. So for me, they are continuous things that feed one another. Also because I spend a lot of time in the studio, I need a lot of outdoor time, or I go nuts. It’s a balance. And then sometimes I do actions.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-8.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>When you say “actions,” do you mean performance?\u003c/i>\u003c/p>\n\u003cp>“I prefer calling it “actions.” Right now I’m working on a few things — I’m trying to have choirs sing in the forest. I did it recently during a residency where we worked with scientists specializing in global warming in the Pyrenees Mountains. One of the facts that the scientists were telling us is that the leaves stay on the trees longer because of global warming. The summers are extended, so the leaves just stay. But by staying, they also contribute to global warming because they’re holding the heat underneath the forest; it’s a vicious circle. So I asked a choir to sing winter songs to the forest, just to give it ideas of losing the leaves. I really enjoyed working that way because it’s like blowing in the wind, or just doing something really stupid. But at the same time, the choir was super motivated to do it, which was weird because asking a random choir to just go in the forest and sing is kind of bizarre. But they were really excited, and it froze the next morning. It’s funny to entertain the idea that there’s potentially a communication with plants and nature like that.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=mgnCR6QZkM4&hl=en_US&fs=1&rel=0&color1=0x234900&color2=0x4e9e00]\u003c/p>\n\u003cp>\u003ci>Does all of your work address environmental issues?\u003c/i>\u003c/p>\n\u003cp>“In a broader way — those people who decide to live off the grid and sculpt their houses with recycled material — what I want to highlight is the philosophical choice of living with almost nothing, and being happy with almost nothing. It’s the aesthetic of simplicity and poverty that I like to highlight as well. So that’s probably more the social aspect of globalization, or one of the choices of how to respond to globalization, more generally than just environmental crisis.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-5.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I love to spend time with those people. After I studied art, I studied horticulture in order to put my actions where my words were. They’re not people who talk about making change, they just do it. And most often they do it in very solitary ways. I do make the parallel between an artist’s isolation, and living out that philosophy in a solitary way. It is socially alienating, but ethically right.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-6.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the fabric people you made with the photo faces — are those people you know?\u003c/i>\u003c/p>\n\u003cp>“Yes, I started with friends and artists’ friends. I made a lot of them. I did a whole installation with them called, \u003cb>You Make Me Make You\u003c/b>. In a lot of ways I think sculpture is like drawing and for me, there’s not really a bridge. For example the drawing that’s at the SF Arts Commission Gallery right now is something that’s going to happen in 3D soon.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-11.jpg\">\u003ci>Selection from \u003cb>You Make Me Make You\u003c/b> exhibit\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Will you build that scene similarly to the way you make the recycled fabric trees, but with little structures hiding among them like in the \u003cb>Sleeper Cell Hotel\u003c/b> drawing?\u003c/i>\u003c/p>\n\u003cp>“No, it would be human size. Ideally it would actually be a hotel.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-4.jpg\">\u003ci>\u003cb>Sleeper Cell Hotel\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Suzanne Husky’s work at the San Francisco Arts Commission Gallery’s \u003ca href=\"http://www.sfartscommission.org/gallery/2010/chain-reaction-11/\">Chain Reaction 11 exhibition\u003c/a> through May 16, 2010 and at Intersection for the Arts’ \u003cb>Spare Some Change\u003c/b> group show opening April 21, 2010. She will also be an \u003ca href=\"http://www.sfrecycling.com/AIR/husky.htm\">artist-in-residence at the San Francisco Recycling and Disposal Center\u003c/a> from October 2010-January 2011.\u003c/p>\n\n",
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"excerpt": "Suzanne Husky is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made marmalade for the masses. Emmanuel and I invaded her Dog Patch studio to find out what's next for this artist who is doing her part to make things right with the world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Suzanne Husky planted herself in San Francisco after spending much of her life in Bordeaux, France. She is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made \u003ca href=\"http://www.themarmaladeproject.blogspot.com/\">marmalade\u003c/a> for the masses. Recently, she even created a musical project that helped set our troubled environment back on course. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I invaded her Dog Patch studio to find out what’s next for this artist who is doing her part to make things right with the world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-husky.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the different mediums you work with.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d say there are three major ones. One is sculpture with textiles, which I’ve done a lot of, and I always go back to. And then I have a documentary practice that I’m leaning more and more towards. I’ve documented a lot of environmental activists, first in the East Bay and then in France — people who sculpt their houses out of recycled materials. I use recycled materials to sculpt, and they sculpt their homes out of recycled material. So for me, they are continuous things that feed one another. Also because I spend a lot of time in the studio, I need a lot of outdoor time, or I go nuts. It’s a balance. And then sometimes I do actions.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-8.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>When you say “actions,” do you mean performance?\u003c/i>\u003c/p>\n\u003cp>“I prefer calling it “actions.” Right now I’m working on a few things — I’m trying to have choirs sing in the forest. I did it recently during a residency where we worked with scientists specializing in global warming in the Pyrenees Mountains. One of the facts that the scientists were telling us is that the leaves stay on the trees longer because of global warming. The summers are extended, so the leaves just stay. But by staying, they also contribute to global warming because they’re holding the heat underneath the forest; it’s a vicious circle. So I asked a choir to sing winter songs to the forest, just to give it ideas of losing the leaves. I really enjoyed working that way because it’s like blowing in the wind, or just doing something really stupid. But at the same time, the choir was super motivated to do it, which was weird because asking a random choir to just go in the forest and sing is kind of bizarre. But they were really excited, and it froze the next morning. It’s funny to entertain the idea that there’s potentially a communication with plants and nature like that.”\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/mgnCR6QZkM4'\n title='//www.youtube.com/embed/mgnCR6QZkM4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Does all of your work address environmental issues?\u003c/i>\u003c/p>\n\u003cp>“In a broader way — those people who decide to live off the grid and sculpt their houses with recycled material — what I want to highlight is the philosophical choice of living with almost nothing, and being happy with almost nothing. It’s the aesthetic of simplicity and poverty that I like to highlight as well. So that’s probably more the social aspect of globalization, or one of the choices of how to respond to globalization, more generally than just environmental crisis.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-5.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I love to spend time with those people. After I studied art, I studied horticulture in order to put my actions where my words were. They’re not people who talk about making change, they just do it. And most often they do it in very solitary ways. I do make the parallel between an artist’s isolation, and living out that philosophy in a solitary way. It is socially alienating, but ethically right.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-6.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the fabric people you made with the photo faces — are those people you know?\u003c/i>\u003c/p>\n\u003cp>“Yes, I started with friends and artists’ friends. I made a lot of them. I did a whole installation with them called, \u003cb>You Make Me Make You\u003c/b>. In a lot of ways I think sculpture is like drawing and for me, there’s not really a bridge. For example the drawing that’s at the SF Arts Commission Gallery right now is something that’s going to happen in 3D soon.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-11.jpg\">\u003ci>Selection from \u003cb>You Make Me Make You\u003c/b> exhibit\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Will you build that scene similarly to the way you make the recycled fabric trees, but with little structures hiding among them like in the \u003cb>Sleeper Cell Hotel\u003c/b> drawing?\u003c/i>\u003c/p>\n\u003cp>“No, it would be human size. Ideally it would actually be a hotel.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-4.jpg\">\u003ci>\u003cb>Sleeper Cell Hotel\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Suzanne Husky’s work at the San Francisco Arts Commission Gallery’s \u003ca href=\"http://www.sfartscommission.org/gallery/2010/chain-reaction-11/\">Chain Reaction 11 exhibition\u003c/a> through May 16, 2010 and at Intersection for the Arts’ \u003cb>Spare Some Change\u003c/b> group show opening April 21, 2010. She will also be an \u003ca href=\"http://www.sfrecycling.com/AIR/husky.htm\">artist-in-residence at the San Francisco Recycling and Disposal Center\u003c/a> from October 2010-January 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve spent any time in San Francisco, chances are you’ve run into one of Sirron Norris’s paintings of bears, bunnies, or Victorian buildings. They give life to roll-up doors, and the interior and exterior walls of local restaurants and stores. His colorful city scenes and cartoony characters are loved by all ages and, in order to eliminate the layers between artist and audience, he recently opened a storefront studio/gallery to showcase his work. It’s located in The Mission near Balmy Alley, the famous corridor covered in murals by local artists, including Norris.\u003c/p>\n\u003cp>Norris’s new space is bright and inviting. Visitors can sit on a big orange couch and play a video game the artist designed where you can digitally explore his signature urban landscapes. A pink bubbly mural crawls over the wall where paintings and other items are on display. A little neighborhood is set up along a shelf; its small, sculptural buildings are painted on a set of children’s toy blocks. A true upcycler, Norris has also painted the iconic San Francisco-style houses on wood scraps from actual Victorians that have been torn down.\u003c/p>\n\u003cp>The gallery sells t-shirts featuring Norris’s artwork displayed on hangers with his characters’ faces on them. There are Sirron Norris light switch plates, toilet brushes, framed posters, and tiny souvenirs everywhere — if you’re a fan of his work, you’ll find yourself in handmade gift shop heaven, even if you’ve got less than $10 in your pocket. And being able to check out the artist’s studio right next to the gallery and see his works in progress and his inspirational toy collection is an added bonus.\u003c/p>\n\u003cp>Norris, his wife, and his interns worked tirelessly to create the new venue, and his larger goal is to turn it into a non-profit organization that helps kids learn innovative, sustainable ways to create art. He is already taking sign-ups for cartooning classes at his studio, and is thinking about ways to expand. He says cartooning is a gateway to creativity, and that freedom of expression is necessary for healthy well-being. Sounds like a great start on a mission statement right there.\u003c/p>\n\u003cp>Norris was featured in a 2009 \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24606\">Spark/Newshour segment\u003c/a> about artists and the economy, saying his business as a painter was slowing down and that he couldn’t afford to make murals anymore. This fresh start on the up-and-coming South end of Valencia Street seems to prove that things are looking up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sirron Norris Studio/Gallery is open Thursday through Sunday, 11:30 ? 7:00pm with extended hours in the summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve spent any time in San Francisco, chances are you’ve run into one of Sirron Norris’s paintings of bears, bunnies, or Victorian buildings. They give life to roll-up doors, and the interior and exterior walls of local restaurants and stores. His colorful city scenes and cartoony characters are loved by all ages and, in order to eliminate the layers between artist and audience, he recently opened a storefront studio/gallery to showcase his work. It’s located in The Mission near Balmy Alley, the famous corridor covered in murals by local artists, including Norris.\u003c/p>\n\u003cp>Norris’s new space is bright and inviting. Visitors can sit on a big orange couch and play a video game the artist designed where you can digitally explore his signature urban landscapes. A pink bubbly mural crawls over the wall where paintings and other items are on display. A little neighborhood is set up along a shelf; its small, sculptural buildings are painted on a set of children’s toy blocks. A true upcycler, Norris has also painted the iconic San Francisco-style houses on wood scraps from actual Victorians that have been torn down.\u003c/p>\n\u003cp>The gallery sells t-shirts featuring Norris’s artwork displayed on hangers with his characters’ faces on them. There are Sirron Norris light switch plates, toilet brushes, framed posters, and tiny souvenirs everywhere — if you’re a fan of his work, you’ll find yourself in handmade gift shop heaven, even if you’ve got less than $10 in your pocket. And being able to check out the artist’s studio right next to the gallery and see his works in progress and his inspirational toy collection is an added bonus.\u003c/p>\n\u003cp>Norris, his wife, and his interns worked tirelessly to create the new venue, and his larger goal is to turn it into a non-profit organization that helps kids learn innovative, sustainable ways to create art. He is already taking sign-ups for cartooning classes at his studio, and is thinking about ways to expand. He says cartooning is a gateway to creativity, and that freedom of expression is necessary for healthy well-being. Sounds like a great start on a mission statement right there.\u003c/p>\n\u003cp>Norris was featured in a 2009 \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24606\">Spark/Newshour segment\u003c/a> about artists and the economy, saying his business as a painter was slowing down and that he couldn’t afford to make murals anymore. This fresh start on the up-and-coming South end of Valencia Street seems to prove that things are looking up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "David Choe: From Japanese Prison to the White House",
"headTitle": "David Choe: From Japanese Prison to the White House | KQED",
"content": "\u003cp> \u003c/p>\n\u003cp>Talk of a half-hour wait circulated through the line extending down the block. The rumor was true. Opening nights for Fifty24SF are almost always densely packed with art-goers. The crowd usually ranges from early twenties to late thirties. They spill from the small gallery onto the sidewalk and collect in tiny groups to smoke and chat. However, the extensive line for the opening of David Choe’s \u003cb>Character Assassination\u003c/b> exhibit is not usual for the Lower Haight gallery. A few hipster girls, lucky enough to make it inside, were pointing and yaysaying their decided favorites. The intimacy of the gallery allows Choe to create a salon style atmosphere. On the left wall works span from ceiling to floor. If there weren’t so many people, the largest piece would be the first thing a viewer sees when walking through the door. On the right wall, two larger works are flanked by smaller pieces. Works are hung in an almost haphazard manner. Haphazardness being a trait Choe is known for.\u003c/p>\n\u003cp>Misadventures have been plentiful in the life of this thirty-four-year-old Korean-American artist. Choe grew up in Los Angeles and travels extensively. He was once lost in the Congo for two weeks at the age of nineteen. Years later, he landed himself a three-month stint in a Japanese prison, after a tussle with an undercover officer. The chaos and energy evident in Choe’s exploits find their way into his work, which adorn the offices of Facebook and, oh yes, the White House.\u003c/p>\n\u003cp>Quick and dirty, that’s how Choe works. Spray paint, oil, watercolor, pencil, anything he can get his hands on is applied with a furious energy. He works loose and finishes by tightening up the figures exploding with color. Seductive women are his primary focus. Robots take a close second. His mostly textural approach counters the minute cartooned faces and cityscapes casually rendered and penciled in around the edges. In one large painting entitled “Ignored Prayers,” which takes up most of the small gallery’s back wall and is an amalgam of oil, acrylic, wax crayons and spray paint on canvas, cars, buildings and rottweilers sit within scrambled hair atop the placid face of a beautiful woman.\u003c/p>\n\u003cp>The gallery walls are painted black with characters scrolled in white graffiti. This is distracting because the walls conflict with artwork hanging on them. Even though Choe is known for chaos, it’s overkill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choe’s tribute to Jimi Hendrix captures the musician’s essence with head swung back and colors ablaze in the form of a giclee print. The ecstatic look on Hendrix’s face feels as if, at that moment, no one could break his groove. Reminiscent of religious iconography, Hendrix is disappearing within himself and entering into a new dimension of being, or ecstasy. Choe, like Hendrix, has a raw and uninhibited passion for his art.\u003c/p>\n\u003cp>On the other hand, a few of the smaller works of unidentifiable persons possess a harsher emotional quality. Fiery reds and dark black-brown tones balance increasingly gestural and undefined faces.\u003c/p>\n\u003cp>The work in \u003cb>Character Assassination\u003c/b> creates tension through the combination of intricate detail and bold, furious activity of spray paint, color, and pictorial puns hidden within the guise of sexually driven works.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Character Assassination\u003c/b> is on view through March 24, 2010 at Fifty24SF in San Francisco. For more about Choe, check out \u003ca href=\"http://www.dirtyhandsmovie.com/\">Dirty Hands: The Art and Crimes of David Choe\u003c/a> is a well-received documentary shot over seven years by Choe’s close friend, filmmaker Harry Kim. Look for the trailer at www.dirtyhandsmovie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Talk of a half-hour wait circulated through the line extending down the block. The rumor was true. Opening nights for Fifty24SF are almost always densely packed with art-goers. The crowd usually ranges from early twenties to late thirties. They spill from the small gallery onto the sidewalk and collect in tiny groups to smoke and chat. However, the extensive line for the opening of David Choe’s \u003cb>Character Assassination\u003c/b> exhibit is not usual for the Lower Haight gallery. A few hipster girls, lucky enough to make it inside, were pointing and yaysaying their decided favorites. The intimacy of the gallery allows Choe to create a salon style atmosphere. On the left wall works span from ceiling to floor. If there weren’t so many people, the largest piece would be the first thing a viewer sees when walking through the door. On the right wall, two larger works are flanked by smaller pieces. Works are hung in an almost haphazard manner. Haphazardness being a trait Choe is known for.\u003c/p>\n\u003cp>Misadventures have been plentiful in the life of this thirty-four-year-old Korean-American artist. Choe grew up in Los Angeles and travels extensively. He was once lost in the Congo for two weeks at the age of nineteen. Years later, he landed himself a three-month stint in a Japanese prison, after a tussle with an undercover officer. The chaos and energy evident in Choe’s exploits find their way into his work, which adorn the offices of Facebook and, oh yes, the White House.\u003c/p>\n\u003cp>Quick and dirty, that’s how Choe works. Spray paint, oil, watercolor, pencil, anything he can get his hands on is applied with a furious energy. He works loose and finishes by tightening up the figures exploding with color. Seductive women are his primary focus. Robots take a close second. His mostly textural approach counters the minute cartooned faces and cityscapes casually rendered and penciled in around the edges. In one large painting entitled “Ignored Prayers,” which takes up most of the small gallery’s back wall and is an amalgam of oil, acrylic, wax crayons and spray paint on canvas, cars, buildings and rottweilers sit within scrambled hair atop the placid face of a beautiful woman.\u003c/p>\n\u003cp>The gallery walls are painted black with characters scrolled in white graffiti. This is distracting because the walls conflict with artwork hanging on them. Even though Choe is known for chaos, it’s overkill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choe’s tribute to Jimi Hendrix captures the musician’s essence with head swung back and colors ablaze in the form of a giclee print. The ecstatic look on Hendrix’s face feels as if, at that moment, no one could break his groove. Reminiscent of religious iconography, Hendrix is disappearing within himself and entering into a new dimension of being, or ecstasy. Choe, like Hendrix, has a raw and uninhibited passion for his art.\u003c/p>\n\u003cp>On the other hand, a few of the smaller works of unidentifiable persons possess a harsher emotional quality. Fiery reds and dark black-brown tones balance increasingly gestural and undefined faces.\u003c/p>\n\u003cp>The work in \u003cb>Character Assassination\u003c/b> creates tension through the combination of intricate detail and bold, furious activity of spray paint, color, and pictorial puns hidden within the guise of sexually driven works.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Character Assassination\u003c/b> is on view through March 24, 2010 at Fifty24SF in San Francisco. For more about Choe, check out \u003ca href=\"http://www.dirtyhandsmovie.com/\">Dirty Hands: The Art and Crimes of David Choe\u003c/a> is a well-received documentary shot over seven years by Choe’s close friend, filmmaker Harry Kim. Look for the trailer at www.dirtyhandsmovie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A list is many things, including a way of insuring memory, a method of organizing, and a literary device. The intent is just as often to allude to the copious quantity of unlisted material as it is to delimit and itemize. What I hadn’t considered before visiting \u003cb>Between the Lines\u003c/b>, Annie Vought’s installation at the California Institute of Integral Studies’ (CIIS) Minna Street Center, was how a list could function as sculpture.\u003c/p>\n\u003cp>Vought’s technique is to work with her own handwritten lists, enlarging and cutting each word out of colored paper. She then pins the words to the wall, leaving an inch or so of space as a buffer. Add the right lighting conditions, and all of the pinned words cast shadows. From a distance it can be a bit of a blur, but ultimately the effect works: without it, we might spend too much time treating the installation like a poem — i.e., attempting to read it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-off-the-wall.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>It’s hard not to read words, of course, and there’s a lot of humor in what they say: “better version wanted” and “I draw my eyes now” are two of my favorites. But as a whole, the draw of Vought’s work is the way it turns our awareness to the materiality of thoughts in space. For me, any moments of legibility were more poignant when there was an interaction between the words and the “real” conditions of the room, like a ray of sunlight creeping across the wall.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-betterversionwanted.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-ghost.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>This might be because I can’t shake the thought that lists are as much about time as they are about space — compulsive list makers attempt to sculpt the shape of their days using time as their main material. As much as I enjoyed watching CIIS students and staff walk in and out of office doors surrounded by stacks of handcut words as tall as the walls, I’d also love to see Vought address some of these other conceptual issues, because her work is already starting to do it for her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Between the Lines\u003c/b> is showing at CIIS’s Minna Street Center through March 21, 2010. For \u003ca href=\"http://www.ciis.edu/arts/\">more information\u003c/a> visit ciis.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A list is many things, including a way of insuring memory, a method of organizing, and a literary device. The intent is just as often to allude to the copious quantity of unlisted material as it is to delimit and itemize. What I hadn’t considered before visiting \u003cb>Between the Lines\u003c/b>, Annie Vought’s installation at the California Institute of Integral Studies’ (CIIS) Minna Street Center, was how a list could function as sculpture.\u003c/p>\n\u003cp>Vought’s technique is to work with her own handwritten lists, enlarging and cutting each word out of colored paper. She then pins the words to the wall, leaving an inch or so of space as a buffer. Add the right lighting conditions, and all of the pinned words cast shadows. From a distance it can be a bit of a blur, but ultimately the effect works: without it, we might spend too much time treating the installation like a poem — i.e., attempting to read it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-off-the-wall.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>It’s hard not to read words, of course, and there’s a lot of humor in what they say: “better version wanted” and “I draw my eyes now” are two of my favorites. But as a whole, the draw of Vought’s work is the way it turns our awareness to the materiality of thoughts in space. For me, any moments of legibility were more poignant when there was an interaction between the words and the “real” conditions of the room, like a ray of sunlight creeping across the wall.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-betterversionwanted.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-ghost.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>This might be because I can’t shake the thought that lists are as much about time as they are about space — compulsive list makers attempt to sculpt the shape of their days using time as their main material. As much as I enjoyed watching CIIS students and staff walk in and out of office doors surrounded by stacks of handcut words as tall as the walls, I’d also love to see Vought address some of these other conceptual issues, because her work is already starting to do it for her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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