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"content": "\u003cp>Ryan De La Hoz has a thing for bones, skulls, and the Grim Reaper so it seems perfect that his last name literally means “of the sickle.” Last week, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I braved a particularly rainy commute to check out his new digs (he recently moved his studio from the Mission to a larger space in Fairfield). We chatted about some of his childhood influences, the band he thinks best defines his aesthetic, and the ancestors he never knew about.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz1.jpg\">\u003ci>Ryan in his new habitat\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about your art and the idea of “Residual Energy.”\u003c/i>\u003c/p>\n\u003cp>“One of the major underlying themes in my art is how fragile everything is, especially life. I’ve been dealing with this idea of landscapes that are void of any people or figures. I feel like there are a lot of things on the earth — beautiful things — that people forget about in their daily lives. A lot of this art is supposed to be like the most beautiful thing you can imagine — like the crystals or geodes in this case — and it’s sort of covered up, like no one wants to see it anymore. The skeleton gloves represent artifacts of existence. They’re like bones, but they’re not. And the ladders represent abandoned progress.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz11.jpg\">\u003cbr>\u003ci>Residual Energies series\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz3.jpg\">\u003c/p>\n\u003cp>“I’m still into everything I liked as a kid. I love Swamp Thing, and The Ninja Turtles, and ooze and stuff like that. I love slime, it’s really that simple. I love Ghostbusters, and ectoplasm, and Slimer. It’s me thinking about how I feel about the environment now, and mixing it with what I liked as a kid. All of these landscapes have the same theme, and I call them Residual Energies.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz6.jpg\">\u003c/p>\n\u003cp>\u003ci>So what’s covering up the beautiful crystals is mounds of slime?\u003c/i>\u003c/p>\n\u003cp>“It could be pollution, it could be anything. I don’t want to sound preachy, talking about the environment; I just want my art to be thought-provoking.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-2.jpg\">\u003c/p>\n\u003cp>\u003ci>What about your teepee pieces, the little encampments?\u003c/i>\u003c/p>\n\u003cp>“I recently found out that I’m 25% Yaqui Indian. I started researching Yaqui Indians, they were on the border of Arizona, and the pictures of them look like my family. I started reading all their folklore at the beginning of last year, so those pieces came from me finding out more about myself. It’s weird to think you have something in you that you didn’t know about, and I like putting myself into my art. I’m really into folklore in general, but the Yaqui Indian folklore that I researched is so interesting. They had some good beliefs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz14.jpg\">\u003c/p>\n\u003cp>\u003ci>What music would best represent your art?\u003c/i>\u003c/p>\n\u003cp>“I really like this band called Battles. Their first album is called Mirrored and there’s a song on that album called Rainbow. I think that could totally represent my stuff.”\u003c/p>\n\u003cp>Check out Ryan’s art, including an installation, and pick up his brand new, full-color zine at \u003ca href=\"http://galleryheist.com\">Heist Gallery\u003c/a> on February 5th, 2010. With 2010 shows lined up in San Francisco, Portland, and New York and a killer zine on the loose, we have a feeling you’ll be hearing a lot more about Ryan De La Hoz in the very near future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz5.jpg\">\u003c/p>\n\n",
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"excerpt": " Last week, Kristin and I braved a particularly rainy commute to check out his new digs (he recently moved his studio from the Mission to a larger space in Fairfield). We chatted about some of his childhood influences, the band he thinks best defines his aesthetic, and the ancestors he never knew about.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan De La Hoz has a thing for bones, skulls, and the Grim Reaper so it seems perfect that his last name literally means “of the sickle.” Last week, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I braved a particularly rainy commute to check out his new digs (he recently moved his studio from the Mission to a larger space in Fairfield). We chatted about some of his childhood influences, the band he thinks best defines his aesthetic, and the ancestors he never knew about.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz1.jpg\">\u003ci>Ryan in his new habitat\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about your art and the idea of “Residual Energy.”\u003c/i>\u003c/p>\n\u003cp>“One of the major underlying themes in my art is how fragile everything is, especially life. I’ve been dealing with this idea of landscapes that are void of any people or figures. I feel like there are a lot of things on the earth — beautiful things — that people forget about in their daily lives. A lot of this art is supposed to be like the most beautiful thing you can imagine — like the crystals or geodes in this case — and it’s sort of covered up, like no one wants to see it anymore. The skeleton gloves represent artifacts of existence. They’re like bones, but they’re not. And the ladders represent abandoned progress.”\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/delahoz11.jpg\">\u003cbr>\u003ci>Residual Energies series\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz3.jpg\">\u003c/p>\n\u003cp>“I’m still into everything I liked as a kid. I love Swamp Thing, and The Ninja Turtles, and ooze and stuff like that. I love slime, it’s really that simple. I love Ghostbusters, and ectoplasm, and Slimer. It’s me thinking about how I feel about the environment now, and mixing it with what I liked as a kid. All of these landscapes have the same theme, and I call them Residual Energies.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz6.jpg\">\u003c/p>\n\u003cp>\u003ci>So what’s covering up the beautiful crystals is mounds of slime?\u003c/i>\u003c/p>\n\u003cp>“It could be pollution, it could be anything. I don’t want to sound preachy, talking about the environment; I just want my art to be thought-provoking.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-2.jpg\">\u003c/p>\n\u003cp>\u003ci>What about your teepee pieces, the little encampments?\u003c/i>\u003c/p>\n\u003cp>“I recently found out that I’m 25% Yaqui Indian. I started researching Yaqui Indians, they were on the border of Arizona, and the pictures of them look like my family. I started reading all their folklore at the beginning of last year, so those pieces came from me finding out more about myself. It’s weird to think you have something in you that you didn’t know about, and I like putting myself into my art. I’m really into folklore in general, but the Yaqui Indian folklore that I researched is so interesting. They had some good beliefs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz14.jpg\">\u003c/p>\n\u003cp>\u003ci>What music would best represent your art?\u003c/i>\u003c/p>\n\u003cp>“I really like this band called Battles. Their first album is called Mirrored and there’s a song on that album called Rainbow. I think that could totally represent my stuff.”\u003c/p>\n\u003cp>Check out Ryan’s art, including an installation, and pick up his brand new, full-color zine at \u003ca href=\"http://galleryheist.com\">Heist Gallery\u003c/a> on February 5th, 2010. With 2010 shows lined up in San Francisco, Portland, and New York and a killer zine on the loose, we have a feeling you’ll be hearing a lot more about Ryan De La Hoz in the very near future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz5.jpg\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even things that you’re not that excited about can start to seem pretty cool if someone speaks really passionately about them. I never minded hearing Lady Gaga on the radio before, but after reading Emmanuel Hapsis’s \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=26700\">article about her\u003c/a>, I’m a true convert — a Lady Gaga lover. If you’re starting with something great, like a work of art (not that Gaga isn’t a work of art), hearing someone talk about it can be moving, memorable, transformative.\u003c/p>\n\u003cp>In honor of its 75th Anniversary this year, SFMOMA has invited 75 people from the Bay Area art world to talk about pieces from the museum’s collection that are meaningful to them, and to share their thoughts with the rest of us. These won’t be slide-accompanied lectures in a dimly-lit hall, but quick shots from the Bay’s best and brightest: 7.5-minute talks, performances, and ramblings taking place in SFMOMA’s galleries every half hour for three days this coming weekend.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collection.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Collection (formerly Untitled)” by Robert Rauschenberg\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>About 20 museum staff members will be participating in the series, called \u003cb>75 Reasons to Live\u003c/b>, and the rest are composers, filmmakers, authors, poets, painters, curators, and people working in all manner of other media. By not limiting the speakers to people working in visual arts, the series’ curators opened the talks up to all types of creative responses. Composer Pamela Z chose Robert Rauschenberg’s “Collection (formerly Untitled),” because she says it was “the first big Robert Rauschenberg I laid my eyes on in the flesh instead of in a book” when she moved to the Bay Area. Her 7.5 minutes, at 5:30 on Saturday, will be part talk, part sound collage; a performance piece in itself.\u003c/p>\n\u003cp>Other speakers include artist Rex Ray talking about Andy Warhol, designer Yves Behar on Barry McGee, and Yerba Buena curator Julio César Morales on Ansel Adams. Carey Perloff, director of the American Conservatory Theater, will talk about a photograph by Robbert Flick, an artist who she says she’s known for many years; and author Beth Lissick is also planning on talking about work by an artist she knows, Chris Johanson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s relatively small size can feel claustrophobic sometimes, like a subway platform full of people you hadn’t hoped to run into (or a packed museum gallery, for that matter), but events like this, that can draw people in from around the region and across genre lines, are possible because of the city’s small size and tangled personal and professional connections. The museum will be crowded, but free — there’s no admission charge for these three days — and full of Bay Area people talking passionately about art and ideas.\u003c/p>\n\u003cp>It all adds up to a lot of artists and a lot of minutes, and it’s actually impossible to see all the speakers, as they’ll be going at it two at a time. But the museum will be recording all the talks, and posting them online later this year; they should make excellent fodder for 7.5-minute eye-opening dawdling sessions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>75 Reasons to Live\u003c/b> runs from Saturday, January 16 through Monday, January 18, 2010 at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even things that you’re not that excited about can start to seem pretty cool if someone speaks really passionately about them. I never minded hearing Lady Gaga on the radio before, but after reading Emmanuel Hapsis’s \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=26700\">article about her\u003c/a>, I’m a true convert — a Lady Gaga lover. If you’re starting with something great, like a work of art (not that Gaga isn’t a work of art), hearing someone talk about it can be moving, memorable, transformative.\u003c/p>\n\u003cp>In honor of its 75th Anniversary this year, SFMOMA has invited 75 people from the Bay Area art world to talk about pieces from the museum’s collection that are meaningful to them, and to share their thoughts with the rest of us. These won’t be slide-accompanied lectures in a dimly-lit hall, but quick shots from the Bay’s best and brightest: 7.5-minute talks, performances, and ramblings taking place in SFMOMA’s galleries every half hour for three days this coming weekend.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collection.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Collection (formerly Untitled)” by Robert Rauschenberg\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>About 20 museum staff members will be participating in the series, called \u003cb>75 Reasons to Live\u003c/b>, and the rest are composers, filmmakers, authors, poets, painters, curators, and people working in all manner of other media. By not limiting the speakers to people working in visual arts, the series’ curators opened the talks up to all types of creative responses. Composer Pamela Z chose Robert Rauschenberg’s “Collection (formerly Untitled),” because she says it was “the first big Robert Rauschenberg I laid my eyes on in the flesh instead of in a book” when she moved to the Bay Area. Her 7.5 minutes, at 5:30 on Saturday, will be part talk, part sound collage; a performance piece in itself.\u003c/p>\n\u003cp>Other speakers include artist Rex Ray talking about Andy Warhol, designer Yves Behar on Barry McGee, and Yerba Buena curator Julio César Morales on Ansel Adams. Carey Perloff, director of the American Conservatory Theater, will talk about a photograph by Robbert Flick, an artist who she says she’s known for many years; and author Beth Lissick is also planning on talking about work by an artist she knows, Chris Johanson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s relatively small size can feel claustrophobic sometimes, like a subway platform full of people you hadn’t hoped to run into (or a packed museum gallery, for that matter), but events like this, that can draw people in from around the region and across genre lines, are possible because of the city’s small size and tangled personal and professional connections. The museum will be crowded, but free — there’s no admission charge for these three days — and full of Bay Area people talking passionately about art and ideas.\u003c/p>\n\u003cp>It all adds up to a lot of artists and a lot of minutes, and it’s actually impossible to see all the speakers, as they’ll be going at it two at a time. But the museum will be recording all the talks, and posting them online later this year; they should make excellent fodder for 7.5-minute eye-opening dawdling sessions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>75 Reasons to Live\u003c/b> runs from Saturday, January 16 through Monday, January 18, 2010 at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Buddha, Jesus, and The Pope mingle in this month’s exhibition at Creativity Explored. \u003cb>Santos y Otros Creatures\u003c/b> features a balanced mix of prints, paintings, and sculptural works tied together by religious or otherworldly threads. Artist \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=23019\">Victor Cartagena\u003c/a> curated the show. He is also an instructor and heads the printmaking program at the organization, which provides a huge, bright studio and classes for local artists with developmental disabilities.\u003c/p>\n\u003cp>Bertha Otoya likes to copy published writings in hand-written cursive. Lifting texts from famous sources (I noticed the names Freud and Foucault), she carefully copies select phrases, punctuating each word with a period, which adds a sense of reduction or choppiness to the writings. Otoya’s reinterpreted words multiply on a large collection of monoprinted strips of paper hanging vertically in the gallery’s window. A white statue of a one-armed Jesus on a one-armed cross floats amidst the prints; Jesus is also covered in script. It seems no santo is safe from the artist’s pen. Lettered wooden ovals hang beyond the white curtain of prints, rounding out this beautifully obsessive installation. Inside the gallery, Otoya’s rewritings reappear in the background of a diptych print of snakes’ heads, and on a long scroll that stretches across the gallery’s ceiling, unfurling out of a golden box. The scroll is fifteen feet of hand-lettered text borrowed from \u003cb>Mexican Folk Retablos\u003c/b> and other sources.\u003c/p>\n\u003cp>Of the many intriguing prints in the show, Quintin Rodriguez’s \u003cb>Un Santo Con Problemas Fisicas\u003c/b>, grabbed me first. His rendering of a skeleton with shortened limbs printed in black on gold paper seems to illustrate a believable narrative of an imperfect saint who deserves to be immortalized in a gilded frame like this. Rodriguez also takes the prize for funniest Pope portrait in another print.\u003c/p>\n\u003cp>Not to be overshadowed by human creatures, \u003ci>El Cadejo\u003c/i>, the folkloric “dog/devil” makes an appearance in sculptural form. Crafted by Maria Berrios, \u003cb>Cadejo\u003c/b> watches over the gallery’s entrance covered in black yarn with fangs and red eyes. The dog’s body is layered; colorful fabric radiates from underneath his crocheted coat.\u003c/p>\n\u003cp>If I could bring home one santo or otro creature to protect me, it would be Ernesto Sosa’s \u003cb>Magdalena\u003c/b>, a fabric sculpture of a female figure wearing a yellow satin dress, with her limbs carefully wrapped in gold tulle, and perfect, hot pink, glittery shoes tied to her feet. To all you atheists, don’t shy away from this show because of its subjects. As Cartagena explains, “For the saints that are created by the artists at Creativity Explored, there is no need for the benediction of a church or the certification of a religion. No authority is called upon to validate these very personal saints and creatures that our artists carry within their hearts and minds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santos y Otros Creatures\u003c/b> is on view through February 11, 2010 at Creativity Explored, 3245 16th Street, San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Buddha, Jesus, and The Pope mingle in this month’s exhibition at Creativity Explored. \u003cb>Santos y Otros Creatures\u003c/b> features a balanced mix of prints, paintings, and sculptural works tied together by religious or otherworldly threads. Artist \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=23019\">Victor Cartagena\u003c/a> curated the show. He is also an instructor and heads the printmaking program at the organization, which provides a huge, bright studio and classes for local artists with developmental disabilities.\u003c/p>\n\u003cp>Bertha Otoya likes to copy published writings in hand-written cursive. Lifting texts from famous sources (I noticed the names Freud and Foucault), she carefully copies select phrases, punctuating each word with a period, which adds a sense of reduction or choppiness to the writings. Otoya’s reinterpreted words multiply on a large collection of monoprinted strips of paper hanging vertically in the gallery’s window. A white statue of a one-armed Jesus on a one-armed cross floats amidst the prints; Jesus is also covered in script. It seems no santo is safe from the artist’s pen. Lettered wooden ovals hang beyond the white curtain of prints, rounding out this beautifully obsessive installation. Inside the gallery, Otoya’s rewritings reappear in the background of a diptych print of snakes’ heads, and on a long scroll that stretches across the gallery’s ceiling, unfurling out of a golden box. The scroll is fifteen feet of hand-lettered text borrowed from \u003cb>Mexican Folk Retablos\u003c/b> and other sources.\u003c/p>\n\u003cp>Of the many intriguing prints in the show, Quintin Rodriguez’s \u003cb>Un Santo Con Problemas Fisicas\u003c/b>, grabbed me first. His rendering of a skeleton with shortened limbs printed in black on gold paper seems to illustrate a believable narrative of an imperfect saint who deserves to be immortalized in a gilded frame like this. Rodriguez also takes the prize for funniest Pope portrait in another print.\u003c/p>\n\u003cp>Not to be overshadowed by human creatures, \u003ci>El Cadejo\u003c/i>, the folkloric “dog/devil” makes an appearance in sculptural form. Crafted by Maria Berrios, \u003cb>Cadejo\u003c/b> watches over the gallery’s entrance covered in black yarn with fangs and red eyes. The dog’s body is layered; colorful fabric radiates from underneath his crocheted coat.\u003c/p>\n\u003cp>If I could bring home one santo or otro creature to protect me, it would be Ernesto Sosa’s \u003cb>Magdalena\u003c/b>, a fabric sculpture of a female figure wearing a yellow satin dress, with her limbs carefully wrapped in gold tulle, and perfect, hot pink, glittery shoes tied to her feet. To all you atheists, don’t shy away from this show because of its subjects. As Cartagena explains, “For the saints that are created by the artists at Creativity Explored, there is no need for the benediction of a church or the certification of a religion. No authority is called upon to validate these very personal saints and creatures that our artists carry within their hearts and minds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\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/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You can’t judge an art book by its title. A recently released book that says \u003cb>Painting Today\u003c/b> in big blue letters on its cover actually chronicles artwork made throughout my entire lifetime. In art, and in this book in particular, “Today” can mean the ’70s and “Tomorrow” might refer to 1994. “Contemporary” is an umbrella description underneath which many successful art experiments have taken shape, and many of the resulting, remarkable “paintings” are pictured in \u003cb>Painting Today\u003c/b>, some of which don’t even have any actual paint on them.\u003c/p>\n\u003cp>Researcher Tony Godfrey compiled this heavy collection, which could be considered an excellent coffee table book, a conversational textbook, or an impressive gift for any art lover who deserves to be spoiled (it retails for $75). Weighing in at over ten pounds, the book is overflowing with gorgeous full-page reproductions of paintings sprinkled with Godfrey’s smartly organized commentary. Just scan the text for a corresponding bolded plate number to learn more about the images you like. The book is best enjoyed in calculated doses, which is why it is divided into chapters such as “Ambiguous Abstraction,” “Neo-expressionism,” “Post-Feminism,” and “Painting Tomorrow.” \u003c/p>\n\u003cp>Not surprisingly, Blue chip artists like Damien Hirst, Gerhard Richter, and Anselm Kiefer make repeat appearances in multiple sections. However, the book does a bang-up job of highlighting a diverse range of artists from thirty countries, and a significant portion are women. Several of the artists are from California, have had major exhibitions at Bay Area museums, and/or have work in local public collections.\u003c/p>\n\u003cp>The most exciting part of the book is how the image placement creates a rowdy dialogue between paintings. If this book could talk, it would roar like a raging party in an echoing art museum. For example, seeing Beatriz Milhazes’s and Philip Taaffe’s flowery canvases across from one another, I literally imagined them as ladies in fancy dresses chatting across the pages.\u003c/p>\n\u003cp>Richter’s “\u003ca href=\"http://www.gerhard-richter.com/art/paintings/photo_paintings/detail.php?5996\">Annunciation after Titian\u003c/a>” (1973) shows four panels of his interpretation of Titian’s original “\u003ca href=\"http://en.wikipedia.org/wiki/Annunciation_%28Titian%29\">Annunciation\u003c/a>” — each one blurrier than the one before. These and other Richter paintings such as “Ella” prove his undeniable mastery at rendering soft focus blurriness. An abstract Richter painting is spoken of highly by Godfrey, but it made me want the artist to stick to blurry portraits. I appreciated the in-depth look at artists like Richter and was surprised to see lesser-known paintings by Hirst, including a photorealistic image of a mortuary (his dot paintings seem to get more face time in other books), but I would have liked to see more than one image from artists like Mark Bradford, Marilyn Minter, Yoshitomo Nara, and Katharina Grosse, whose installation of huge weather balloons covered in acrylic paint is breathtaking, even in a photograph. Also noticeably missing is most comic-inspired and so-called “low brow” art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Painting Today\u003c/b> took me to places I could only dream of going, with installation shots of the Haunch of Venison Gallery in London and the notorious 1993 Whitney Biennial. These long shots are an important bonus, emphasizing how placement and location are often central to the point of an artwork, hence the section titled “Painting Space” (which is not to be confused with art about the solar system).\u003c/p>\n\u003cp>I started to think abstract paintings weren’t exciting anymore when I got to the “Pure Abstraction” section, but then Bridget Riley’s graphic Tetris-like color explosion nearly popped off pages 138 and 139, and Estelle Thompson’s vertically striped, eye-crossing oil painting \u003cb>Skimmy\u003c/b> induced motion sickness on the next page. That painting must be even crazier in person, possibly even unbearable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Godfrey reveals trends that the artists themselves might not even recognize. A popular art school lesson asks students to represent one image multiple ways, an activity I thought of many times while looking at Richter’s Titian tribute; Alex Katz’s “Walk,” “Study for Walk,” and “The Light II” pictured consecutively in the “Western Traditions” chapter; Zhang Xiogang’s “Bloodline: Big Family” and “Big Family No. 1” in the “Photographic” section; and Richard Prince’s “Millionaire Nurse” and “Dude Ranch Nurse.” Prince’s painted-over inkjet prints of books on canvas have been \u003ca href=\"http://www.nursingadvocacy.org/media/va/nurse_paintings.html\">publicly critiqued\u003c/a> by actual nurses. \u003cb>Painting Today\u003c/b> inspired me to do further research (hence the info on nurses’ opinions of Richard Prince), which is a testament to its educational power. Buy it and make someone smarter about painting — today.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t judge an art book by its title. A recently released book that says \u003cb>Painting Today\u003c/b> in big blue letters on its cover actually chronicles artwork made throughout my entire lifetime. In art, and in this book in particular, “Today” can mean the ’70s and “Tomorrow” might refer to 1994. “Contemporary” is an umbrella description underneath which many successful art experiments have taken shape, and many of the resulting, remarkable “paintings” are pictured in \u003cb>Painting Today\u003c/b>, some of which don’t even have any actual paint on them.\u003c/p>\n\u003cp>Researcher Tony Godfrey compiled this heavy collection, which could be considered an excellent coffee table book, a conversational textbook, or an impressive gift for any art lover who deserves to be spoiled (it retails for $75). Weighing in at over ten pounds, the book is overflowing with gorgeous full-page reproductions of paintings sprinkled with Godfrey’s smartly organized commentary. Just scan the text for a corresponding bolded plate number to learn more about the images you like. The book is best enjoyed in calculated doses, which is why it is divided into chapters such as “Ambiguous Abstraction,” “Neo-expressionism,” “Post-Feminism,” and “Painting Tomorrow.” \u003c/p>\n\u003cp>Not surprisingly, Blue chip artists like Damien Hirst, Gerhard Richter, and Anselm Kiefer make repeat appearances in multiple sections. However, the book does a bang-up job of highlighting a diverse range of artists from thirty countries, and a significant portion are women. Several of the artists are from California, have had major exhibitions at Bay Area museums, and/or have work in local public collections.\u003c/p>\n\u003cp>The most exciting part of the book is how the image placement creates a rowdy dialogue between paintings. If this book could talk, it would roar like a raging party in an echoing art museum. For example, seeing Beatriz Milhazes’s and Philip Taaffe’s flowery canvases across from one another, I literally imagined them as ladies in fancy dresses chatting across the pages.\u003c/p>\n\u003cp>Richter’s “\u003ca href=\"http://www.gerhard-richter.com/art/paintings/photo_paintings/detail.php?5996\">Annunciation after Titian\u003c/a>” (1973) shows four panels of his interpretation of Titian’s original “\u003ca href=\"http://en.wikipedia.org/wiki/Annunciation_%28Titian%29\">Annunciation\u003c/a>” — each one blurrier than the one before. These and other Richter paintings such as “Ella” prove his undeniable mastery at rendering soft focus blurriness. An abstract Richter painting is spoken of highly by Godfrey, but it made me want the artist to stick to blurry portraits. I appreciated the in-depth look at artists like Richter and was surprised to see lesser-known paintings by Hirst, including a photorealistic image of a mortuary (his dot paintings seem to get more face time in other books), but I would have liked to see more than one image from artists like Mark Bradford, Marilyn Minter, Yoshitomo Nara, and Katharina Grosse, whose installation of huge weather balloons covered in acrylic paint is breathtaking, even in a photograph. Also noticeably missing is most comic-inspired and so-called “low brow” art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Painting Today\u003c/b> took me to places I could only dream of going, with installation shots of the Haunch of Venison Gallery in London and the notorious 1993 Whitney Biennial. These long shots are an important bonus, emphasizing how placement and location are often central to the point of an artwork, hence the section titled “Painting Space” (which is not to be confused with art about the solar system).\u003c/p>\n\u003cp>I started to think abstract paintings weren’t exciting anymore when I got to the “Pure Abstraction” section, but then Bridget Riley’s graphic Tetris-like color explosion nearly popped off pages 138 and 139, and Estelle Thompson’s vertically striped, eye-crossing oil painting \u003cb>Skimmy\u003c/b> induced motion sickness on the next page. That painting must be even crazier in person, possibly even unbearable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Godfrey reveals trends that the artists themselves might not even recognize. A popular art school lesson asks students to represent one image multiple ways, an activity I thought of many times while looking at Richter’s Titian tribute; Alex Katz’s “Walk,” “Study for Walk,” and “The Light II” pictured consecutively in the “Western Traditions” chapter; Zhang Xiogang’s “Bloodline: Big Family” and “Big Family No. 1” in the “Photographic” section; and Richard Prince’s “Millionaire Nurse” and “Dude Ranch Nurse.” Prince’s painted-over inkjet prints of books on canvas have been \u003ca href=\"http://www.nursingadvocacy.org/media/va/nurse_paintings.html\">publicly critiqued\u003c/a> by actual nurses. \u003cb>Painting Today\u003c/b> inspired me to do further research (hence the info on nurses’ opinions of Richard Prince), which is a testament to its educational power. Buy it and make someone smarter about painting — today.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s more than a touch of melancholy on display at Electric Works this month; something I would argue is in keeping with the overall influence of comix (á la Art Spiegelman) on \u003ca href=\"http://www.paulmadonna.com/\">Paul Madonna\u003c/a> and \u003ca href=\"http://themilkmachine.com/\">Ian Huebert\u003c/a>. Spiegelman used the word ‘comix’ because he wanted to stress that his creations were not just humorous illustrations, but a new narrative technique: a ‘comix-ture’ of words and images that relied on the tension between what was being said and what was being illustrated.\u003c/p>\n\u003cp>I doubt that Speigelman was the first graphic artist to whom this occurred, but he managed to combine this insight with the idea that comix could broach material just as serious as any other novel, and arguably reinvented the comic book in America. He also introduced notes of irony, self-consciousness and melancholy that still permeate the genre, and it’s this tone that marries Madonna’s \u003cb>Album 01: In Which Era Will You Get Stuck?\u003c/b> exhibition with Huebert’s \u003cb>Drawing from the Plains.\u003c/b>\u003c/p>\n\u003cp>Madonna’s drawings are supporting documents to a limited-edition book, also called \u003cb>Album 01\u003c/b>, published jointly by Electric Works and the Paul Madonna Studio, and I think the show feels a little rough around the edges for this reason. The book is more coherent than the gallery installation — for example, it includes most of the stages that Madonna’s drawings underwent, providing a larger frame of reference for the artist’s ideas. “Balsa Planes 1 – 5,” which is currently my favorite piece, went through four iterations before it became the drawing that hangs on the gallery wall.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/balsa-plane-5.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Balsa Planes 5” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>While the final image is evocative on its own, when you see the entire five-panel series of wooden gliders and their paper plane counterparts playing out an ambiguous scene that could be a battle (or not), “Balsa Planes 1 – 5” becomes a meaningful synecdoche for the tension present in the rest of \u003cb>Album 01\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the playful colors and the fact that many of Madonna’s images involve toys, my overall read is of a narrator continually under attack.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/creature.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Creature” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>Attacked by what, I’m not exactly sure — memories, expectations, and nostalgia are my best guesses, and I think the role that commodities play here is interesting — but it’s a curiously indirect and persistent threat, one that shows up in the form of broken toy parts or bad dreams, at least until the final page of the book, when the narrator is accidentally poisoned by a cupcake that contains a dose of medicine for the family dog — mildly poisoned, that is, nothing fatal. A gentle melancholy. A familiar threat.\u003c/p>\n\u003cp>Ian Huebert’s is the stronger installation, which makes sense given that there is no book involved, and nothing meant to bundle the concept of the work other than the room in which it sits. Huebert is meticulous — you can tell by his rendering style — and I was impressed by the number of different media and techniques he put together, from hand-drawn, multi-panel serials to a re-appropriated table.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faspa.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“FASPA” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>If comix is the art of juxtaposition, or the art of the interval, then Huebert moves this juxtaposition out of the realm of solely text and image and into the multi-modal conversation of contemporary art, where many of his peers are also attempting to harness the same interval.\u003c/p>\n\u003cp>Huebert’s images are, as the title suggests, ‘from the plains:’ big, sturdy women and teenagers, endlessly flat horizons, haystacks, corn and gun cartridges. He’s from Nebraska, but anyone who has clocked time in this country’s agricultural centers will recognize his landscape, and not just formally, but emotionally. There’s a bleak strip called “Freezer King” that I can’t get out of my mind: a woman stripping corn of its kernels and immediately putting them on ice, in Ziploc bags labeled “July.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/freezer-king.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Freezer King” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>My parents used to do this with the pulp from the persimmons that they harvested off our tree down in the South Bay; in our world, it was a way of making a season’s flavor last just a little bit longer, of storing a favorite experience with the expectation that it could be brought out at another time. In Huebert’s world, the gesture takes on a special kind of bittersweetness, of a summer (and perhaps a way of life) put on ice.\u003c/p>\n\u003cp>Paul Madonna’s \u003cb>Album 01: In What Era Will You Get Stuck?\u003c/b> and Ian Huebert’s \u003cb>Drawing from the Plains\u003c/b> are on view at \u003ca href=\"http://www.sfelectricworks.com/\">Electric Works\u003c/a> until January 9, 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Electric Works will be hosting a book signing for Paul Madonna on December 19, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s more than a touch of melancholy on display at Electric Works this month; something I would argue is in keeping with the overall influence of comix (á la Art Spiegelman) on \u003ca href=\"http://www.paulmadonna.com/\">Paul Madonna\u003c/a> and \u003ca href=\"http://themilkmachine.com/\">Ian Huebert\u003c/a>. Spiegelman used the word ‘comix’ because he wanted to stress that his creations were not just humorous illustrations, but a new narrative technique: a ‘comix-ture’ of words and images that relied on the tension between what was being said and what was being illustrated.\u003c/p>\n\u003cp>I doubt that Speigelman was the first graphic artist to whom this occurred, but he managed to combine this insight with the idea that comix could broach material just as serious as any other novel, and arguably reinvented the comic book in America. He also introduced notes of irony, self-consciousness and melancholy that still permeate the genre, and it’s this tone that marries Madonna’s \u003cb>Album 01: In Which Era Will You Get Stuck?\u003c/b> exhibition with Huebert’s \u003cb>Drawing from the Plains.\u003c/b>\u003c/p>\n\u003cp>Madonna’s drawings are supporting documents to a limited-edition book, also called \u003cb>Album 01\u003c/b>, published jointly by Electric Works and the Paul Madonna Studio, and I think the show feels a little rough around the edges for this reason. The book is more coherent than the gallery installation — for example, it includes most of the stages that Madonna’s drawings underwent, providing a larger frame of reference for the artist’s ideas. “Balsa Planes 1 – 5,” which is currently my favorite piece, went through four iterations before it became the drawing that hangs on the gallery wall.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/balsa-plane-5.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Balsa Planes 5” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>While the final image is evocative on its own, when you see the entire five-panel series of wooden gliders and their paper plane counterparts playing out an ambiguous scene that could be a battle (or not), “Balsa Planes 1 – 5” becomes a meaningful synecdoche for the tension present in the rest of \u003cb>Album 01\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the playful colors and the fact that many of Madonna’s images involve toys, my overall read is of a narrator continually under attack.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/creature.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Creature” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>Attacked by what, I’m not exactly sure — memories, expectations, and nostalgia are my best guesses, and I think the role that commodities play here is interesting — but it’s a curiously indirect and persistent threat, one that shows up in the form of broken toy parts or bad dreams, at least until the final page of the book, when the narrator is accidentally poisoned by a cupcake that contains a dose of medicine for the family dog — mildly poisoned, that is, nothing fatal. A gentle melancholy. A familiar threat.\u003c/p>\n\u003cp>Ian Huebert’s is the stronger installation, which makes sense given that there is no book involved, and nothing meant to bundle the concept of the work other than the room in which it sits. Huebert is meticulous — you can tell by his rendering style — and I was impressed by the number of different media and techniques he put together, from hand-drawn, multi-panel serials to a re-appropriated table.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faspa.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“FASPA” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>If comix is the art of juxtaposition, or the art of the interval, then Huebert moves this juxtaposition out of the realm of solely text and image and into the multi-modal conversation of contemporary art, where many of his peers are also attempting to harness the same interval.\u003c/p>\n\u003cp>Huebert’s images are, as the title suggests, ‘from the plains:’ big, sturdy women and teenagers, endlessly flat horizons, haystacks, corn and gun cartridges. He’s from Nebraska, but anyone who has clocked time in this country’s agricultural centers will recognize his landscape, and not just formally, but emotionally. There’s a bleak strip called “Freezer King” that I can’t get out of my mind: a woman stripping corn of its kernels and immediately putting them on ice, in Ziploc bags labeled “July.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/freezer-king.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Freezer King” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>My parents used to do this with the pulp from the persimmons that they harvested off our tree down in the South Bay; in our world, it was a way of making a season’s flavor last just a little bit longer, of storing a favorite experience with the expectation that it could be brought out at another time. In Huebert’s world, the gesture takes on a special kind of bittersweetness, of a summer (and perhaps a way of life) put on ice.\u003c/p>\n\u003cp>Paul Madonna’s \u003cb>Album 01: In What Era Will You Get Stuck?\u003c/b> and Ian Huebert’s \u003cb>Drawing from the Plains\u003c/b> are on view at \u003ca href=\"http://www.sfelectricworks.com/\">Electric Works\u003c/a> until January 9, 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Electric Works will be hosting a book signing for Paul Madonna on December 19, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rediscovering Carleton Watkins",
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"content": "\u003cp>Carleton Watkins, an early photographer of the American West, was a friendly man who came to a sad end. An exhibit of his work at the Fraenkel Gallery in Union Square explains that he came to photography by chance. Like many, he was drawn west by the Gold Rush and found part-time work at a portrait studio. He enjoyed the craft, soon began capturing landscapes as well as taking portaits, then discovered Yosemite, a virtually-unknown, difficult-to-access wilderness, 24 hours by train from San Francisco. Watkins lugged anenormous camera– it took mammoth 18″ by 22″ plates — plus tripods and a portable darkroom on trips to Yosemite; his photographs introduced the world to Half Dome, Vernal Falls, Yosemite Falls, and the Grizzly Giant.\u003c/p>\n\u003cp>But Watkins began to go blind. In the 1906 earthquake and fire, his negatives were destroyed. He never recovered from these twin disasters, and died ten years later in a mental institution in Napa.\u003c/p>\n\u003cp>Luck came posthumously to Carleton Watkins. Last year a flat file full of Watkins photos turned up in a New England library. Some seemed to be the only extant prints of negatives that were destroyed more than a century ago. They’re all on display now at the Fraenkel Gallery in San Francisco. It’s a fitting venue: the very first show there, 30 years ago, also featured newly-discovered Watkins photographs and gallery owner Jeffrey Fraenkel is the author of a \u003ca href=\"http://www.amazon.com/Carleton-E-Watkins-Jeffrey-Fraenkel/dp/093849127X/ref=sr_1_1?ie=UTF8&s=books&qid=1260294669&sr=8-1\">book on Watkins\u003c/a>.\u003c/p>\n\u003cp>Watkins’s Yosemite photographs show crisp shadows in the foreground and dusky distant landscapes. Those grand views are unencumbered by people not because of point-and-shoot gymnastics, but because there weren’t any tourists there yet. A photo of misty Yosemite Falls, taken from Glacier Point feels quiet and remarkable for having not been taken from a parking lot. But this collection isn’t nostalgic; it’s historic. Watkins’s photographs \u003ci>brought\u003c/i> the people and the roads and the parking lots. They helped inspire President Lincoln to protect the area decades before Ansel Adams took his famous photographs there.\u003c/p>\n\u003cp>The exhibit shows the world as Watkins saw it, as he was attempting to capture the famous and beloved American landscape for the first time with a new art form. There is something moving about seeing the very first photographs of now-familiar and treasured scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Carleton Watkins: Discoveries\u003c/b> runs through December 30, 2009 at Fraenkel Gallery in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carleton Watkins, an early photographer of the American West, was a friendly man who came to a sad end. An exhibit of his work at the Fraenkel Gallery in Union Square explains that he came to photography by chance. Like many, he was drawn west by the Gold Rush and found part-time work at a portrait studio. He enjoyed the craft, soon began capturing landscapes as well as taking portaits, then discovered Yosemite, a virtually-unknown, difficult-to-access wilderness, 24 hours by train from San Francisco. Watkins lugged anenormous camera– it took mammoth 18″ by 22″ plates — plus tripods and a portable darkroom on trips to Yosemite; his photographs introduced the world to Half Dome, Vernal Falls, Yosemite Falls, and the Grizzly Giant.\u003c/p>\n\u003cp>But Watkins began to go blind. In the 1906 earthquake and fire, his negatives were destroyed. He never recovered from these twin disasters, and died ten years later in a mental institution in Napa.\u003c/p>\n\u003cp>Luck came posthumously to Carleton Watkins. Last year a flat file full of Watkins photos turned up in a New England library. Some seemed to be the only extant prints of negatives that were destroyed more than a century ago. They’re all on display now at the Fraenkel Gallery in San Francisco. It’s a fitting venue: the very first show there, 30 years ago, also featured newly-discovered Watkins photographs and gallery owner Jeffrey Fraenkel is the author of a \u003ca href=\"http://www.amazon.com/Carleton-E-Watkins-Jeffrey-Fraenkel/dp/093849127X/ref=sr_1_1?ie=UTF8&s=books&qid=1260294669&sr=8-1\">book on Watkins\u003c/a>.\u003c/p>\n\u003cp>Watkins’s Yosemite photographs show crisp shadows in the foreground and dusky distant landscapes. Those grand views are unencumbered by people not because of point-and-shoot gymnastics, but because there weren’t any tourists there yet. A photo of misty Yosemite Falls, taken from Glacier Point feels quiet and remarkable for having not been taken from a parking lot. But this collection isn’t nostalgic; it’s historic. Watkins’s photographs \u003ci>brought\u003c/i> the people and the roads and the parking lots. They helped inspire President Lincoln to protect the area decades before Ansel Adams took his famous photographs there.\u003c/p>\n\u003cp>The exhibit shows the world as Watkins saw it, as he was attempting to capture the famous and beloved American landscape for the first time with a new art form. There is something moving about seeing the very first photographs of now-familiar and treasured scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "IN YOUR FACE: Kids and Cockroaches at Paxton Gate",
"headTitle": "IN YOUR FACE: Kids and Cockroaches at Paxton Gate | KQED",
"content": "\u003cp>We’ve got a plethora of unique local stores in this town and Paxton Gate tops the list, stocked with taxidermy animals, carnivorous plants and other treasures of “the garden and the natural sciences” variety. When parents pick up their kids from writing sessions at Dave Egger’s 826 Valencia Pirate Store, Paxton Gate awaits next door with lions frozen in time, costumed mice, and bugs of all kinds. But the space is mostly for grown-ups, so Paxton opened a children’s store down the block last year, and has recently added an art gallery in the foyer.\u003c/p>\n\u003cp>The taxidermy is still present but it’s safe for toddlers, and the collection of toys and books will transport you to a simpler time when you picked blueberries, wore hand-knit mittens, and played with wooden toys. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I checked out Jennifer Muskopf’s new exhibit of talking cockroaches telling creation tales, and asked Paxton Gate fans to give us their thoughts on the store and the wise insect artwork.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/entrance.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cockroachdoor.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jennifer-muskopf.jpg\">\u003c/p>\n\u003cp>\u003cb>Artist Jennifer Muskopf with her daughter, Dinah\u003c/b>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zenaida-sengo.jpg\">\u003c/p>\n\u003cp>\u003cb>Zenaida Sengo\u003c/b>\u003cbr>“I would like to listen to the cockroaches in isolation when there’s not a lot of noise around. I really like them visually and I love insects. I raise cockroaches at home to feed reptiles; they’re a really nutritious insect so I have a kind of connection to them. There are a wide variety of cockroaches and I think Jennifer did a good job of representing different species.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-chiara.jpg\">\u003c/p>\n\u003cp>\u003cb>John Chiara\u003c/b>\u003cbr>“I love the show. I especially enjoyed the cockroach that recited the Cherokee story of how the earth came to be, and I was fascinated by it. I think the cockroaches are all really beautiful and the fact that they tell stories is just amazing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alpha.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/paxton-forgue.jpg\">\u003c/p>\n\u003cp>\u003cb>Paxton Forgue, whose name is just a coincidence\u003c/b>\u003cbr>“First of all, I really like the idea. You have the cockroaches that tell stories of creation, and they already have an archaic look to them and have been around for ages. They might be the only things left after the possible destruction that could happen — especially man-made destruction — they’re the only thing that could survive a nuclear winter. I also like the different cultural aspects, like the first one tells the Big Bang theory. I thought it was nice that was included, and it’s not just old stories. Some of them are even poems if you listen to them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/books.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/priscilla-botsford.jpg\">\u003c/p>\n\u003cp>\u003cb>Priscilla Botsford with her daughter, Evyn\u003c/b>\u003cbr>“I like the exhibit’s timeless theme and its location. Cockroaches have been around forever, witnessing everything and they’re in this store where there’s a certain timelessness to the toys. This store has so much more of a history and timelessness to it than other stores you might go to. I was able to tell my daughter when we were coming here that it was an exhibit, like a museum, but the difference here is the art is with toys; it’s really great and they’re able to pull that off in this store.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gator.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/james-morrill.jpg\">\u003c/p>\n\u003cp>\u003cb>James Morrill of Paxton Gate’s plush trophies\u003c/b>\u003cbr>“In the beginning we had four stuffed animal heads just for display, in homage to the main Paxton Gate. We ended up getting so much positive feedback, and people wanted them so we decided we had to keep making them. We started mounting these heads, and it’s a process that all the employees know how to do, so you will sometimes find us decapitating these stuffed animals and mounting them, it’s a procedure. I absolutely love the frog, he’s very endearing. He’s the rattiest. Our co-worker Em made the beaver and the appendage hanging off the plaque is a new addition — it’s so perfect.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fingerpuppet.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dig.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Animal heads, archeological digs, and cockroaches — a child’s wildest holiday dreams come true at Paxton Gate Curiosities for Kids! Jennifer Muskopf’s “You Had to Be There” runs through January 20, 2010.\u003c/p>\n\n",
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"excerpt": "The tables have turned: instead of telling you what we think about art shows, we're hitting the streets to find out what the beautiful people think. Emmanuel and I checked out Jennifer Muskopf's new exhibit, \"You Had to Be There,\" at Paxton Gate that features talking cockroaches telling creationist tales.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve got a plethora of unique local stores in this town and Paxton Gate tops the list, stocked with taxidermy animals, carnivorous plants and other treasures of “the garden and the natural sciences” variety. When parents pick up their kids from writing sessions at Dave Egger’s 826 Valencia Pirate Store, Paxton Gate awaits next door with lions frozen in time, costumed mice, and bugs of all kinds. But the space is mostly for grown-ups, so Paxton opened a children’s store down the block last year, and has recently added an art gallery in the foyer.\u003c/p>\n\u003cp>The taxidermy is still present but it’s safe for toddlers, and the collection of toys and books will transport you to a simpler time when you picked blueberries, wore hand-knit mittens, and played with wooden toys. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I checked out Jennifer Muskopf’s new exhibit of talking cockroaches telling creation tales, and asked Paxton Gate fans to give us their thoughts on the store and the wise insect artwork.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/entrance.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cockroachdoor.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jennifer-muskopf.jpg\">\u003c/p>\n\u003cp>\u003cb>Artist Jennifer Muskopf with her daughter, Dinah\u003c/b>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zenaida-sengo.jpg\">\u003c/p>\n\u003cp>\u003cb>Zenaida Sengo\u003c/b>\u003cbr>“I would like to listen to the cockroaches in isolation when there’s not a lot of noise around. I really like them visually and I love insects. I raise cockroaches at home to feed reptiles; they’re a really nutritious insect so I have a kind of connection to them. There are a wide variety of cockroaches and I think Jennifer did a good job of representing different species.”\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/john-chiara.jpg\">\u003c/p>\n\u003cp>\u003cb>John Chiara\u003c/b>\u003cbr>“I love the show. I especially enjoyed the cockroach that recited the Cherokee story of how the earth came to be, and I was fascinated by it. I think the cockroaches are all really beautiful and the fact that they tell stories is just amazing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alpha.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/paxton-forgue.jpg\">\u003c/p>\n\u003cp>\u003cb>Paxton Forgue, whose name is just a coincidence\u003c/b>\u003cbr>“First of all, I really like the idea. You have the cockroaches that tell stories of creation, and they already have an archaic look to them and have been around for ages. They might be the only things left after the possible destruction that could happen — especially man-made destruction — they’re the only thing that could survive a nuclear winter. I also like the different cultural aspects, like the first one tells the Big Bang theory. I thought it was nice that was included, and it’s not just old stories. Some of them are even poems if you listen to them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/books.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/priscilla-botsford.jpg\">\u003c/p>\n\u003cp>\u003cb>Priscilla Botsford with her daughter, Evyn\u003c/b>\u003cbr>“I like the exhibit’s timeless theme and its location. Cockroaches have been around forever, witnessing everything and they’re in this store where there’s a certain timelessness to the toys. This store has so much more of a history and timelessness to it than other stores you might go to. I was able to tell my daughter when we were coming here that it was an exhibit, like a museum, but the difference here is the art is with toys; it’s really great and they’re able to pull that off in this store.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gator.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/james-morrill.jpg\">\u003c/p>\n\u003cp>\u003cb>James Morrill of Paxton Gate’s plush trophies\u003c/b>\u003cbr>“In the beginning we had four stuffed animal heads just for display, in homage to the main Paxton Gate. We ended up getting so much positive feedback, and people wanted them so we decided we had to keep making them. We started mounting these heads, and it’s a process that all the employees know how to do, so you will sometimes find us decapitating these stuffed animals and mounting them, it’s a procedure. I absolutely love the frog, he’s very endearing. He’s the rattiest. Our co-worker Em made the beaver and the appendage hanging off the plaque is a new addition — it’s so perfect.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fingerpuppet.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dig.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Animal heads, archeological digs, and cockroaches — a child’s wildest holiday dreams come true at Paxton Gate Curiosities for Kids! Jennifer Muskopf’s “You Had to Be There” runs through January 20, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I am not a fan of the suffix “-oholic” because it doesn’t make enough sense to come off as clever. And though Charles Saatchi, the rich and (in)famous ad man and art collector, claims not to be very clever, he clearly knew what he was doing when he published a long interview in pocket-sized book form, thoroughly answering the public’s questions about his life, his philosophies, and his art world activities for the first time ever. The questions were contributed over the years by a handful of British newspapers, and Saatchi finally sat down and answered them safely in front of his computer, rather than on the spot in front of a crowd of harsh critics.\u003c/p>\n\u003cp>He’s been criticized for making and breaking artists’ careers, but he finally reveals the truth about his socially anxious, Starbucks-loving, passionate personality in his new book, \u003cb>My Name is Charles Saatchi and I am an Artoholic: Everything you need to know about art, ads, life, God, and other mysteries — and weren’t afraid to ask.\u003c/b>. I developed a slight obsession with the collector when his ad agency, Saatchi & Saatchi, opened an office across the street from mine in San Francisco. As soon as they landed in the neighborhood, their building was promptly painted with giant polka-dots, à la the dot paintings by one of the artists whose career Saatchi helped launch, the once Young British Artist (a.k.a. YBA), Damien Hirst. After reading some snarky excerpts from Saatchi’s new book online, I was hungry for more Saatchiisms (and Britishisms — ever heard the term “clever-clogs?” It’s British for “smarty pants”) and snatched up the book, which costs no more than a movie ticket.\u003c/p>\n\u003cp>Saatchi is full of himself, but at least he admits it. In response to a question about whether he has been treated unfairly by the UK press, he says “If you can’t take a good kicking, you shouldn’t parade how much luckier you are than other people.” When asked about his intentions with the book, he admits he is “desperate for something” because he’s finally responding to all these questions, but that it “certainly isn’t celebrity,” though he does casually mention his new BBC reality television series \u003cb>Saatchi’s Art Stars\u003c/b> (a.k.a. Saatchi’s Best of British) more than once.\u003c/p>\n\u003cp>His pomposity is balanced by self-deprecating humor, and I enjoyed reading Saatchi’s side of scandalous stories from the art world. In 1999, an exhibition of work from his collection called \u003cb>Sensation\u003c/b>, traveled to New York where it was highly controversial due to artist Chris Ofili’s \u003cb>Virgin Mary\u003c/b>, a mixed-media image of a black Madonna embellished with the artist’s signature clod of elephant dung. The exhibit caused a lawsuit and countersuit between then Mayor Rudolph Giuliani and The Brooklyn Museum, and the museum’s city funding was temporarily withdrawn as a result. It was assumed that Saatchi banked on the drama to increase the selling power of the artwork, but it’s no surprise that the same exhibit didn’t cause any fuss when shown on the other side of the pond. I’m digressing here because you may not know that similarly, in San Francisco, Gilbert & George’s exhibition at the de Young Museum required warning plaques that were unnecessary at museums in the UK — when it comes to art, we’re total prudes over here.\u003c/p>\n\u003cp>Though ego-driven and bold, Saatchi does seem to have a deep respect for artists. He created \u003ca href=\"http://www.saatchi-gallery.co.uk/yourgallery/\">Saatchi Online\u003c/a>, a web site where anyone can display and sell their artwork. And I appreciated his favorable description of truly talented artists and his reminder that there should be “no talk of temperamental, self-absorbed and petulant babies. Being a good artist is the toughest job you could pick, and you have to be a little nuts to take it on.” While it’s bothersome that he claims only Pollock, Warhol, Judd, and his boy Hirst will go down in history (according to Saatchi, every other artist “will be a footnote”), he may, unfortunately, be right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m not sure how you’d get an answer but at the end of the book, you are invited to send your own questions for Saatchi via email. But don’t ask him if he thinks you’re a real art collector (I thought I was) because I already know his answer: not unless you have so much art that you require an extra storage unit. Speaking of storage units, Saatchi’s most venomous answer was spat out when asked if he himself was the arsonist behind a \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/3750819.stm\">vicious warehouse fire\u003c/a> that consumed several works from his collection: “It wasn’t terrifically amusing the first time dull people came up with this. Now it’s the 100th time.” Oh, snap! Dullards beware: Saatchi will shut you down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Buy the book at \u003ca href=\"http://www.phaidon.com/Default.aspx/Web/my-name-is-charles-saatchi-and-i-am-an-artoholic-9780714857473\">Phaidon\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am not a fan of the suffix “-oholic” because it doesn’t make enough sense to come off as clever. And though Charles Saatchi, the rich and (in)famous ad man and art collector, claims not to be very clever, he clearly knew what he was doing when he published a long interview in pocket-sized book form, thoroughly answering the public’s questions about his life, his philosophies, and his art world activities for the first time ever. The questions were contributed over the years by a handful of British newspapers, and Saatchi finally sat down and answered them safely in front of his computer, rather than on the spot in front of a crowd of harsh critics.\u003c/p>\n\u003cp>He’s been criticized for making and breaking artists’ careers, but he finally reveals the truth about his socially anxious, Starbucks-loving, passionate personality in his new book, \u003cb>My Name is Charles Saatchi and I am an Artoholic: Everything you need to know about art, ads, life, God, and other mysteries — and weren’t afraid to ask.\u003c/b>. I developed a slight obsession with the collector when his ad agency, Saatchi & Saatchi, opened an office across the street from mine in San Francisco. As soon as they landed in the neighborhood, their building was promptly painted with giant polka-dots, à la the dot paintings by one of the artists whose career Saatchi helped launch, the once Young British Artist (a.k.a. YBA), Damien Hirst. After reading some snarky excerpts from Saatchi’s new book online, I was hungry for more Saatchiisms (and Britishisms — ever heard the term “clever-clogs?” It’s British for “smarty pants”) and snatched up the book, which costs no more than a movie ticket.\u003c/p>\n\u003cp>Saatchi is full of himself, but at least he admits it. In response to a question about whether he has been treated unfairly by the UK press, he says “If you can’t take a good kicking, you shouldn’t parade how much luckier you are than other people.” When asked about his intentions with the book, he admits he is “desperate for something” because he’s finally responding to all these questions, but that it “certainly isn’t celebrity,” though he does casually mention his new BBC reality television series \u003cb>Saatchi’s Art Stars\u003c/b> (a.k.a. Saatchi’s Best of British) more than once.\u003c/p>\n\u003cp>His pomposity is balanced by self-deprecating humor, and I enjoyed reading Saatchi’s side of scandalous stories from the art world. In 1999, an exhibition of work from his collection called \u003cb>Sensation\u003c/b>, traveled to New York where it was highly controversial due to artist Chris Ofili’s \u003cb>Virgin Mary\u003c/b>, a mixed-media image of a black Madonna embellished with the artist’s signature clod of elephant dung. The exhibit caused a lawsuit and countersuit between then Mayor Rudolph Giuliani and The Brooklyn Museum, and the museum’s city funding was temporarily withdrawn as a result. It was assumed that Saatchi banked on the drama to increase the selling power of the artwork, but it’s no surprise that the same exhibit didn’t cause any fuss when shown on the other side of the pond. I’m digressing here because you may not know that similarly, in San Francisco, Gilbert & George’s exhibition at the de Young Museum required warning plaques that were unnecessary at museums in the UK — when it comes to art, we’re total prudes over here.\u003c/p>\n\u003cp>Though ego-driven and bold, Saatchi does seem to have a deep respect for artists. He created \u003ca href=\"http://www.saatchi-gallery.co.uk/yourgallery/\">Saatchi Online\u003c/a>, a web site where anyone can display and sell their artwork. And I appreciated his favorable description of truly talented artists and his reminder that there should be “no talk of temperamental, self-absorbed and petulant babies. Being a good artist is the toughest job you could pick, and you have to be a little nuts to take it on.” While it’s bothersome that he claims only Pollock, Warhol, Judd, and his boy Hirst will go down in history (according to Saatchi, every other artist “will be a footnote”), he may, unfortunately, be right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not sure how you’d get an answer but at the end of the book, you are invited to send your own questions for Saatchi via email. But don’t ask him if he thinks you’re a real art collector (I thought I was) because I already know his answer: not unless you have so much art that you require an extra storage unit. Speaking of storage units, Saatchi’s most venomous answer was spat out when asked if he himself was the arsonist behind a \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/3750819.stm\">vicious warehouse fire\u003c/a> that consumed several works from his collection: “It wasn’t terrifically amusing the first time dull people came up with this. Now it’s the 100th time.” Oh, snap! Dullards beware: Saatchi will shut you down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Buy the book at \u003ca href=\"http://www.phaidon.com/Default.aspx/Web/my-name-is-charles-saatchi-and-i-am-an-artoholic-9780714857473\">Phaidon\u003c/a>.\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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