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"content": "\u003cp>A few weeks ago, I visited NIAD Art Center in Richmond, CA. One of 11 local artists and curators who joined the organizer, painter \u003ca href=\"http://www.timothybuckwalter.typepad.com/\">Timothy Buckwalter\u003c/a>, to select work for \u003cb>Rare and Unreleased\u003c/b>, an exhibition celebrating NIAD’s 25-year history. The show opens this Saturday, April 10 with a reception from 2-5pm and runs through June 4, 2010.\u003c/p>\n\u003cp>I didn’t know what I was getting myself into when I responded, “Sure, sounds fun!” to Buckwalter’s email invitation. The group, which included Oakland gallerist Kimberly Johansson (\u003ca href=\"http://johanssonprojects.com/default.htm\">Johansson Projects\u003c/a>), Philip Linhares, Chief Curator of Art at the \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a> and artists John Casey, Heidi De Vries, Cliff Hengst, Helena Keeffe, Mike Monteiro, Lisa Solomon, Canon Tolon, and John Zurier, had the — yes, fun, but — daunting task of going through NIAD’s vast archive. And I mean stacks and stacks of paintings, drawings and prints, several rooms full of sculptures made from all imaginable materials and a couple of large spaces jammed tight with canvases. But the sorting wasn’t the worst part. Each curator was given a space to collect the various gems retrieved from this overwhelming mass of artwork, and then — toughest task of all — we were asked to lay out our collections and CHOOSE JUST SIX pieces, which would ultimately appear in the show! Perhaps this task sounds simple or mundane to you, and it’s probably one of those situations where you really had to be there, but (gulp!) it was tough.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/niad-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Founded in 1982, NIAD (National Institute of Art and Disabilities) is a really bright and friendly place packed to overflowing with creativity. The center is a studio art program that provides assistance in the form of materials, working artists and art assistants to adult artists with any kind of disability, either mental (think autism) or physical (think wheelchair bound).\u003c/p>\n\u003cp>We saw sculptures in all shapes, sizes and materials, screenprints, woodcuts, ceramics, fiber art, portraits, landscapes, word art, pop art, abstraction, minimalism and more. The artists are obviously engaged with issues in contemporary culture \u003ci>and\u003c/i> contemporary art. We uncovered one who painted magazine covers; another made the most intriguing and intricate lists, elegantly filling up page after page with them. There was an artist trying to capture the weather; another created imaginary flags. Fanciful and brightly colored animals dominated the pages of one artist’s stack; one man made medical equipment (stethoscope, syringe, etc.) out of masking tape. When we broke for lunch, we were entertained by an artist obsessed with Michael Jackson, who moonwalked and sang songs into a microphone he had fashioned out of cardboard. The day was filled with such magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/niad-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Javier Ramirez\u003c/p>\n\u003cp>I cannot wait to see the results of our dig through the strata of NIAD. As someone engaged with contemporary art galleries (through my work at KQED) and as an artist myself, it was humbling to be down on my knees digging through a pile of paintings, uncovering a creative expression so pure it took my breath away. This didn’t happen once; it happened at regular intervals — and not just to me. Judging from the gasps occurring throughout the space, the same was true for the rest of the crew. Maybe one day, I will be lucky enough to plug into my own creative energy so well, making my own artistic statements with such elegance and grace.\u003c/p>\n\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rare & Unreleased\u003c/b> is on view through June 4, 2010 at the NIAD Gallery, 551 23rd Street in Richmond, California. The opening reception is Saturday, April 10, 2-5pm. For \u003ca href=\"http://www.niadart.org\">more information\u003c/a> visit niadart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, I visited NIAD Art Center in Richmond, CA. One of 11 local artists and curators who joined the organizer, painter \u003ca href=\"http://www.timothybuckwalter.typepad.com/\">Timothy Buckwalter\u003c/a>, to select work for \u003cb>Rare and Unreleased\u003c/b>, an exhibition celebrating NIAD’s 25-year history. The show opens this Saturday, April 10 with a reception from 2-5pm and runs through June 4, 2010.\u003c/p>\n\u003cp>I didn’t know what I was getting myself into when I responded, “Sure, sounds fun!” to Buckwalter’s email invitation. The group, which included Oakland gallerist Kimberly Johansson (\u003ca href=\"http://johanssonprojects.com/default.htm\">Johansson Projects\u003c/a>), Philip Linhares, Chief Curator of Art at the \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a> and artists John Casey, Heidi De Vries, Cliff Hengst, Helena Keeffe, Mike Monteiro, Lisa Solomon, Canon Tolon, and John Zurier, had the — yes, fun, but — daunting task of going through NIAD’s vast archive. And I mean stacks and stacks of paintings, drawings and prints, several rooms full of sculptures made from all imaginable materials and a couple of large spaces jammed tight with canvases. But the sorting wasn’t the worst part. Each curator was given a space to collect the various gems retrieved from this overwhelming mass of artwork, and then — toughest task of all — we were asked to lay out our collections and CHOOSE JUST SIX pieces, which would ultimately appear in the show! Perhaps this task sounds simple or mundane to you, and it’s probably one of those situations where you really had to be there, but (gulp!) it was tough.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/niad-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Founded in 1982, NIAD (National Institute of Art and Disabilities) is a really bright and friendly place packed to overflowing with creativity. The center is a studio art program that provides assistance in the form of materials, working artists and art assistants to adult artists with any kind of disability, either mental (think autism) or physical (think wheelchair bound).\u003c/p>\n\u003cp>We saw sculptures in all shapes, sizes and materials, screenprints, woodcuts, ceramics, fiber art, portraits, landscapes, word art, pop art, abstraction, minimalism and more. The artists are obviously engaged with issues in contemporary culture \u003ci>and\u003c/i> contemporary art. We uncovered one who painted magazine covers; another made the most intriguing and intricate lists, elegantly filling up page after page with them. There was an artist trying to capture the weather; another created imaginary flags. Fanciful and brightly colored animals dominated the pages of one artist’s stack; one man made medical equipment (stethoscope, syringe, etc.) out of masking tape. When we broke for lunch, we were entertained by an artist obsessed with Michael Jackson, who moonwalked and sang songs into a microphone he had fashioned out of cardboard. The day was filled with such magic.\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/niad-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Javier Ramirez\u003c/p>\n\u003cp>I cannot wait to see the results of our dig through the strata of NIAD. As someone engaged with contemporary art galleries (through my work at KQED) and as an artist myself, it was humbling to be down on my knees digging through a pile of paintings, uncovering a creative expression so pure it took my breath away. This didn’t happen once; it happened at regular intervals — and not just to me. Judging from the gasps occurring throughout the space, the same was true for the rest of the crew. Maybe one day, I will be lucky enough to plug into my own creative energy so well, making my own artistic statements with such elegance and grace.\u003c/p>\n\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rare & Unreleased\u003c/b> is on view through June 4, 2010 at the NIAD Gallery, 551 23rd Street in Richmond, California. The opening reception is Saturday, April 10, 2-5pm. For \u003ca href=\"http://www.niadart.org\">more information\u003c/a> visit niadart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The public sphere in Iran is laden with restrictions implemented by the Islamic Republic: women must cover their hair outdoors; couples, unless married, cannot hold hands or be affectionate in the streets; no dance clubs; no live concerts with female performers… the list seems endless.\u003c/p>\n\u003cp>The current exhibition at Berkeley’s Alphonse Berber Gallery, \u003cb>Tehran: Public Lives Private Spaces — New Art and Digital Media from Iran\u003c/b> is a series of photographs and video installations depicting these restrictions on public life — and the defiant private lives of young people in Iran’s capital city. Most of the work was created by Tehran-based artists born after the 1979 Iranian Revolution.\u003c/p>\n\n\u003cp>Mahboube Karamli’s installation \u003cb>The Girls\u003c/b> is a series of photos of young Iranian women sitting on their beds. To describe this work, Karamali wrote, “I think that most of the girls, who are the same age as me, also spend a great amount of time in their bedrooms. If we add to this… the time each girl spends sleeping, one would see that a significant amount of their lives up to this point have been spent on their beds. It is safe to say that these girls are most relaxed in their bedrooms; after all it is their own private space.”\u003c/p>\n\u003cp>We see young Iranian women with their hair unveiled, the skin of their arms and legs defiantly bare. Each stares directly into the camera with a look that seems to say, “I have nothing to hide.” The images vary: a woman lays seductively across her bed; another sits cross-legged, smoking a cigarette (an act looked down upon for women in Iranian society); a third is surrounded by a pile of shoes. Each woman is young and beautiful, with a look of confidence in her eyes.\u003c/p>\n\u003cp>In a back room, Neda Razavipour’s video installation, \u003cb>Find the Lost One\u003c/b>, shows a split-screen with identical video clips of people walking to and from the entrance to one of Tehran’s subway stations. Razavipour removed one of the commuters on one side of the screen; the viewer is meant to find him or her in the half of the video left intact. The installation represents the dozens who have “dissappeared” in Iran in the aftermath of 2009’s contested presidential election. Each person on the screen becomes important; any one could disappear at any moment. The sense of anxiety that arises as you try to find the one that has been erased invokes empathy for those Iranian families that must contend with the sudden disappearance of a loved one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taraneh Hemami, who helped bring many of the pieces to the United States in January 2010 for a separate exhibition organized by the San Francisco Arts Commission and the Intersection for the Arts, said the difference between indoor and outdoor life in Iran is very tangible. “I think the life that people experience in Iran, the life that people claim as theirs, actually happens indoors,” said Hemami. “The public life is completely separated from the private life.”\u003c/p>\n\u003cp>In Mehran Mohajer’s piece, \u003cb>Tehran, Undated\u003c/b> we view familiar images of Tehran’s streets, which we remember from recent coverage of the unrest that followed last year’s presidential election. Mohajer used a pinhole camera so that the structure of the city remained, while the people became a blur, effectively depopulating the urban landscape. “We chose artists that use the city as their muse,” said Hemami. “[Mohajer’s] work became representative of the days right after the election, when the streets of Tehran, a city of 17 million were in fact empty of people, except for when the demonstrations were happening. The city was paralzyed, the shops were closed, and the people stayed indoors after the election.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A collaboration between The Center for South Asia Studies, the Center for Southeast Asia Studies and the Center for Middle Eastern Studies at UC Berkeley, \u003cb>Tehran: Public Lives Private Spaces — New Art and Digital Media from Iran\u003c/b> is on view May 30 – April 10, 2010 at the Alphonse Berber Gallery, 2546 Bancroft Way in Berkeley. The exhibition is part of a program called, \u003cb>Islam Today: New Media and Youth Culture in the Middle East, South Asia and Southeast Asia\u003c/b>. For \u003ca href=\"http://alphonseberber.com//exhibition.html\">more information\u003c/a> visit alphonseberber.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The public sphere in Iran is laden with restrictions implemented by the Islamic Republic: women must cover their hair outdoors; couples, unless married, cannot hold hands or be affectionate in the streets; no dance clubs; no live concerts with female performers… the list seems endless.\u003c/p>\n\u003cp>The current exhibition at Berkeley’s Alphonse Berber Gallery, \u003cb>Tehran: Public Lives Private Spaces — New Art and Digital Media from Iran\u003c/b> is a series of photographs and video installations depicting these restrictions on public life — and the defiant private lives of young people in Iran’s capital city. Most of the work was created by Tehran-based artists born after the 1979 Iranian Revolution.\u003c/p>\n\n\u003cp>Mahboube Karamli’s installation \u003cb>The Girls\u003c/b> is a series of photos of young Iranian women sitting on their beds. To describe this work, Karamali wrote, “I think that most of the girls, who are the same age as me, also spend a great amount of time in their bedrooms. If we add to this… the time each girl spends sleeping, one would see that a significant amount of their lives up to this point have been spent on their beds. It is safe to say that these girls are most relaxed in their bedrooms; after all it is their own private space.”\u003c/p>\n\u003cp>We see young Iranian women with their hair unveiled, the skin of their arms and legs defiantly bare. Each stares directly into the camera with a look that seems to say, “I have nothing to hide.” The images vary: a woman lays seductively across her bed; another sits cross-legged, smoking a cigarette (an act looked down upon for women in Iranian society); a third is surrounded by a pile of shoes. Each woman is young and beautiful, with a look of confidence in her eyes.\u003c/p>\n\u003cp>In a back room, Neda Razavipour’s video installation, \u003cb>Find the Lost One\u003c/b>, shows a split-screen with identical video clips of people walking to and from the entrance to one of Tehran’s subway stations. Razavipour removed one of the commuters on one side of the screen; the viewer is meant to find him or her in the half of the video left intact. The installation represents the dozens who have “dissappeared” in Iran in the aftermath of 2009’s contested presidential election. Each person on the screen becomes important; any one could disappear at any moment. The sense of anxiety that arises as you try to find the one that has been erased invokes empathy for those Iranian families that must contend with the sudden disappearance of a loved one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taraneh Hemami, who helped bring many of the pieces to the United States in January 2010 for a separate exhibition organized by the San Francisco Arts Commission and the Intersection for the Arts, said the difference between indoor and outdoor life in Iran is very tangible. “I think the life that people experience in Iran, the life that people claim as theirs, actually happens indoors,” said Hemami. “The public life is completely separated from the private life.”\u003c/p>\n\u003cp>In Mehran Mohajer’s piece, \u003cb>Tehran, Undated\u003c/b> we view familiar images of Tehran’s streets, which we remember from recent coverage of the unrest that followed last year’s presidential election. Mohajer used a pinhole camera so that the structure of the city remained, while the people became a blur, effectively depopulating the urban landscape. “We chose artists that use the city as their muse,” said Hemami. “[Mohajer’s] work became representative of the days right after the election, when the streets of Tehran, a city of 17 million were in fact empty of people, except for when the demonstrations were happening. The city was paralzyed, the shops were closed, and the people stayed indoors after the election.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A collaboration between The Center for South Asia Studies, the Center for Southeast Asia Studies and the Center for Middle Eastern Studies at UC Berkeley, \u003cb>Tehran: Public Lives Private Spaces — New Art and Digital Media from Iran\u003c/b> is on view May 30 – April 10, 2010 at the Alphonse Berber Gallery, 2546 Bancroft Way in Berkeley. The exhibition is part of a program called, \u003cb>Islam Today: New Media and Youth Culture in the Middle East, South Asia and Southeast Asia\u003c/b>. For \u003ca href=\"http://alphonseberber.com//exhibition.html\">more information\u003c/a> visit alphonseberber.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ian Johnson may have taken a page out of Pocahontas’s book. Instead of painting all the colors of the \u003ci>wind\u003c/i>, his inks and acrylics capture frequencies. In his third showing at \u003ca href=\"http://www.parklifestore.com/\">Park Life\u003c/a>, Johnson builds on his interest in a slew of musicians that dominated the jazz scene from the 1940s to the ’60s. The show’s title, \u003cb>Of The Living Sky\u003c/b>, pays tribute to the freewheeling and distinctly afro-futurist approach of musician Sun Ra.\u003c/p>\n\u003cp>Based on photographs, Johnson’s portraits place his subjects against atmospheric backgrounds of warm, saturated color, echoing the rich, emotional and hard-driving history of jazz. Among the show’s many exceptional pieces is a smiling Abbey Lincoln in “As Long As Your Living.” The singer-songwriter is set before a mesmerizing sky of dense oranges, reds and fuchsias progressing upwards from mild blues.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ian-johnson-023.jpg\" style=\"margin-middle:;\">\u003c/center>\n\u003cp>Geometric patterning finds its way into several pieces, accentuating the funk vibe. Dress shirts are penned in thin crisp lines, which also radiate from or behind select individuals including Duke Ellington, Chet Baker and members of the Art Ensemble of Chicago. Contours are followed in a refined sketch-like manner, making cheekbones pop and a saxophonist’s forehead wrinkle in concentration.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ian-johnson-006.jpg\" style=\"margin-middle:;\">\u003c/center>\n\u003cp>Most portraits contain beams of color, which take on a sci-fi quality recalling the space age philosophy of Sun Ra. Johnson carries this element into his installation, which is only noticeable if one looks up and to the right. Painted wooden rods spew from one of the gallery’s corners reaching toward the middle of the ceiling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson has been working on this show for the better part of a year, splitting his time with his position as art director at Western Edition Skateboards. That gig marries Johnson’s interests well, but these days he says the ratio of skateboarding, making art and sleeping is about 1 : 17 : 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of the Living Sky\u003c/b> is on view through May 1, 2010 at Park Life in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ian Johnson may have taken a page out of Pocahontas’s book. Instead of painting all the colors of the \u003ci>wind\u003c/i>, his inks and acrylics capture frequencies. In his third showing at \u003ca href=\"http://www.parklifestore.com/\">Park Life\u003c/a>, Johnson builds on his interest in a slew of musicians that dominated the jazz scene from the 1940s to the ’60s. The show’s title, \u003cb>Of The Living Sky\u003c/b>, pays tribute to the freewheeling and distinctly afro-futurist approach of musician Sun Ra.\u003c/p>\n\u003cp>Based on photographs, Johnson’s portraits place his subjects against atmospheric backgrounds of warm, saturated color, echoing the rich, emotional and hard-driving history of jazz. Among the show’s many exceptional pieces is a smiling Abbey Lincoln in “As Long As Your Living.” The singer-songwriter is set before a mesmerizing sky of dense oranges, reds and fuchsias progressing upwards from mild blues.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ian-johnson-023.jpg\" style=\"margin-middle:;\">\u003c/center>\n\u003cp>Geometric patterning finds its way into several pieces, accentuating the funk vibe. Dress shirts are penned in thin crisp lines, which also radiate from or behind select individuals including Duke Ellington, Chet Baker and members of the Art Ensemble of Chicago. Contours are followed in a refined sketch-like manner, making cheekbones pop and a saxophonist’s forehead wrinkle in concentration.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ian-johnson-006.jpg\" style=\"margin-middle:;\">\u003c/center>\n\u003cp>Most portraits contain beams of color, which take on a sci-fi quality recalling the space age philosophy of Sun Ra. Johnson carries this element into his installation, which is only noticeable if one looks up and to the right. Painted wooden rods spew from one of the gallery’s corners reaching toward the middle of the ceiling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johnson has been working on this show for the better part of a year, splitting his time with his position as art director at Western Edition Skateboards. That gig marries Johnson’s interests well, but these days he says the ratio of skateboarding, making art and sleeping is about 1 : 17 : 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of the Living Sky\u003c/b> is on view through May 1, 2010 at Park Life in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>L.A. is a nice place to visit, but it’s even better when L.A. comes to you. Culver City gallery owners Christine Le and Beau Basse packed up the cream of their 2010 crop, along with a few guest artists’ gems, and set up shop on the third floor of \u003ca href=\"http://www.newpeopleworld.com/\">New People\u003c/a>, a super modern mini mall in Japantown. The mall’s SuperFrog Gallery is the perfect, wide open space to showcase this stunner of a collection.\u003c/p>\n\u003cp>Paintings by artists reaching star status fill the room, including German duo Herakut in one of their first S.F. appearances. Their raw drawings of wild female figures are framed alongside large paintings, which are filled with enough fire for five people, let alone the two who created them. Strategically placed nearby, a painting by Andrew Hem could be having a lively dialogue with Herakut’s work. Hem is interested in the idea of the butterfly effect and how it is analogous to his life as an L.A. artist, which might’ve been very different had his parents not fled Cambodia when he was young.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lebasse-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Alexandros Vasmoulakis, “Yesterday We Reached Our Apogee”\u003c/p>\n\u003cp>I was most excited to see Seonna Hong’s work in person for the first time, and her delicately detailed paintings on linen and paint chips depicting tiny girls and houses navigating a flood did not disappoint. It’s easy to see why Hong is a new favorite of mega artist Takashi Murakami. (He bought her entire show at his gallery in Japan!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lebasse-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Seonna Hong, “Dreamless Sleep”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead of further spoiling the surprises that await you in this satellite exhibition, I’ll give you the bad news: They’ll only be here for a few days! Adjust your weekend plans and head over to New People in the next 72 hours — you won’t regret it. The LeBasse gallery owners are some of the nicest you’ll ever meet, and their passion for art is clearly immense. Why else would they work so hard to bring a taste of LeBasse to The Bay? Let’s hope they make it a habit.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>L.A. is a nice place to visit, but it’s even better when L.A. comes to you. Culver City gallery owners Christine Le and Beau Basse packed up the cream of their 2010 crop, along with a few guest artists’ gems, and set up shop on the third floor of \u003ca href=\"http://www.newpeopleworld.com/\">New People\u003c/a>, a super modern mini mall in Japantown. The mall’s SuperFrog Gallery is the perfect, wide open space to showcase this stunner of a collection.\u003c/p>\n\u003cp>Paintings by artists reaching star status fill the room, including German duo Herakut in one of their first S.F. appearances. Their raw drawings of wild female figures are framed alongside large paintings, which are filled with enough fire for five people, let alone the two who created them. Strategically placed nearby, a painting by Andrew Hem could be having a lively dialogue with Herakut’s work. Hem is interested in the idea of the butterfly effect and how it is analogous to his life as an L.A. artist, which might’ve been very different had his parents not fled Cambodia when he was young.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lebasse-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Alexandros Vasmoulakis, “Yesterday We Reached Our Apogee”\u003c/p>\n\u003cp>I was most excited to see Seonna Hong’s work in person for the first time, and her delicately detailed paintings on linen and paint chips depicting tiny girls and houses navigating a flood did not disappoint. It’s easy to see why Hong is a new favorite of mega artist Takashi Murakami. (He bought her entire show at his gallery in Japan!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "STUDIO INVASION: Tara Foley",
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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>\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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"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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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": "\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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"headline": "Travis Somerville: Rededicated to the Proposition of Art as Politics",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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