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"content": "\u003cp>Maxwell Loren Holyoke-Hirsch wants you to see his studio. But since it’s weird to invite strangers into one’s personal space, he has set up a condensed version of it inside Fecal Face Dot Gallery and called it \u003cb>Megarealms\u003c/b>. There is a shelf full of objects, and ladders stacked with supplies. Artwork is clustered on the walls, suggesting an economy of space riddled with installation experiments. There are paintings you can’t get a good look at because they’re hidden behind other things — maybe because the artist wants you to know he made them — he’s just not sure he wants you to see them.\u003c/p>\n\u003cp>The shelf installation is chaotic but somehow seems organized. There are figures made of crude materials like metal scraps and wound-up newspaper. Scattered among them are vibrantly painted wood chunks and found objects including an asthma inhaler not too far from a cigarette, which are both painted over with an opaque brown color like most of the objects in the show’s installation pieces. Seeing everyday objects like funnels, soap bottles, and cans painted in a monochrome shade forces you to consider them as unified objects rather than distinctive packages, or brands, or tools of the trade.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-overview.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Holyoke-Hirsch seems to be compelled to make things, and this obsessive nature is apparent in his latest work. While some viewers might see the installation as a random pile of junk, others might see a visual poetry, sensing how each object was placed at least somewhat deliberately.\u003c/p>\n\u003cp>Resin is layered over many of the paintings in the show, protecting their fragile materials, which include cheap paint, pen, pastels, and scraps of blue painters’ tape. The artist’s line work is simple but incredibly expressive. A shoe or a hairdo are represented as one blob of color but are still distinct and familiar. It occurred to me while looking at his work that Holyoke-Hirsch could be the three-way lovechild of artists \u003ca href=\"http://www.calder.org/\">Alexander Calder\u003c/a>, \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Joan_Brown.html\">Joan Brown\u003c/a>, and \u003ca href=\"http://chrisjohanson.com/\">Chris Johanson\u003c/a>. For me, his art evokes several different eras. The timelessness of his drawing style is probably one of the reasons he’s also had a successful career as a commercial illustrator.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-sheep.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I recently heard Albert Reyes, an artist who uses similar installation techniques, talk about the fact that he’s not making individual bodies of work, but rather everything he makes contributes to one life-long series. I get the same feeling from Holyoke-Hirsch’s work. Experimentation with materials is key to this approach, and the artist seems to be on his way to creating one mega long series of \u003cb>Megarealms\u003c/b> for us to navigate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Megarealms\u003c/b> is on view at Fecal Face dot Gallery in San Francisco through November 28th, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maxwell Loren Holyoke-Hirsch wants you to see his studio. But since it’s weird to invite strangers into one’s personal space, he has set up a condensed version of it inside Fecal Face Dot Gallery and called it \u003cb>Megarealms\u003c/b>. There is a shelf full of objects, and ladders stacked with supplies. Artwork is clustered on the walls, suggesting an economy of space riddled with installation experiments. There are paintings you can’t get a good look at because they’re hidden behind other things — maybe because the artist wants you to know he made them — he’s just not sure he wants you to see them.\u003c/p>\n\u003cp>The shelf installation is chaotic but somehow seems organized. There are figures made of crude materials like metal scraps and wound-up newspaper. Scattered among them are vibrantly painted wood chunks and found objects including an asthma inhaler not too far from a cigarette, which are both painted over with an opaque brown color like most of the objects in the show’s installation pieces. Seeing everyday objects like funnels, soap bottles, and cans painted in a monochrome shade forces you to consider them as unified objects rather than distinctive packages, or brands, or tools of the trade.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-overview.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Holyoke-Hirsch seems to be compelled to make things, and this obsessive nature is apparent in his latest work. While some viewers might see the installation as a random pile of junk, others might see a visual poetry, sensing how each object was placed at least somewhat deliberately.\u003c/p>\n\u003cp>Resin is layered over many of the paintings in the show, protecting their fragile materials, which include cheap paint, pen, pastels, and scraps of blue painters’ tape. The artist’s line work is simple but incredibly expressive. A shoe or a hairdo are represented as one blob of color but are still distinct and familiar. It occurred to me while looking at his work that Holyoke-Hirsch could be the three-way lovechild of artists \u003ca href=\"http://www.calder.org/\">Alexander Calder\u003c/a>, \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Joan_Brown.html\">Joan Brown\u003c/a>, and \u003ca href=\"http://chrisjohanson.com/\">Chris Johanson\u003c/a>. For me, his art evokes several different eras. The timelessness of his drawing style is probably one of the reasons he’s also had a successful career as a commercial illustrator.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-sheep.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I recently heard Albert Reyes, an artist who uses similar installation techniques, talk about the fact that he’s not making individual bodies of work, but rather everything he makes contributes to one life-long series. I get the same feeling from Holyoke-Hirsch’s work. Experimentation with materials is key to this approach, and the artist seems to be on his way to creating one mega long series of \u003cb>Megarealms\u003c/b> for us to navigate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Megarealms\u003c/b> is on view at Fecal Face dot Gallery in San Francisco through November 28th, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Afterlife\u003c/b>, currently at the San Jose Institute of Contemporary Art, is not the first exhibition to devote itself the work of artists who use nothing but recycled materials, nor will it be the last. The show opened just a few weeks after San Francisco enacted a tough new recycling and composting law, a coincidence that reminds us of the Bay Area’s position at the forefront of recycling practices, in all their forms. Indeed, \u003cb>Afterlife\u003c/b> continues an international tradition of making art out of everyday objects, including the stuff most of us routinely kick to the curb.\u003c/p>\n\u003cp>Early in the last century, French surrealist Marcel Duchamp shocked the art world with his “\u003ca href=\"http://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp\">readymades\u003c/a>,” artworks made out of ordinary manufactured objects. The most famous of these were his “\u003ca href=\"http://en.wikipedia.org/wiki/Bicycle_Wheel\">Bicycle Wheel\u003c/a>,” a tireless rim mounted by its fork to a painted stool, and “\u003ca href=\"http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29\">Fountain\u003c/a>,” a urinal turned on its side and signed by the artist. In both cases, Duchamp’s refusal to take things at their face value is what transformed these common objects into art.\u003c/p>\n\u003cp>The impulse to elevate the everyday has gone through many mutations since, notably in \u003ca href=\"http://www.josephcornellbox.com/\">Joseph Cornell\u003c/a>‘s collages and boxes, \u003ca href=\"http://www.metmuseum.org/Special/se_event.asp?OccurrenceId=%7B6E31DECE-D293-4EB0-BBB8-3A78F4EA2EC1%7D\">Robert Rauschenberg’s Combines\u003c/a> and the work of Southern California artists from \u003ca href=\"http://www.beatmuseum.org/kienholz/edkienholz.html\">Ed Kienholz\u003c/a> to Simon Rodia, who produced the region’s most important piece of public sculpture, \u003ca href=\"http://www.greatbuildings.com/buildings/Watts_Towers.html\">Watts Towers. In the Bay Area, many of the \u003c/a>\u003ca href=\"http://www.wsu.edu/~delahoyd/20th/funk.html\">“Funk” artists\u003c/a>, from Bruce Conner to Robert Hudson, produced work using unlikely combinations of techniques and materials, including found objects.\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> contains some startling pieces, regardless of where they fit, or don’t, in this continuum. For the most part, the best works celebrate the repetition that can occur when working with recycled materials, particularly recycled packaging. Thus, the exhibition’s centerpiece is a triptych by Robert Larson called “Twelve Titles,” which consists of three 8-by-10-foot linen panels, each papered with a grid of Surgeon General’s Warnings from found packs of Marlboros. Larson has grouped the labels by their relative degrees of filthiness, as well as by the type of warning that appears on the label (the warning has varied over the years). The result is an almost hypnotic abstraction of subtle patterns, which seem to blur and shimmer as you approach or move away from the piece to admire its formal, scruffy beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-cigs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first glance, Larson’s orderly piece does not seem descended from San Franciscan \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Bruce_COnner.html\">Bruce Conner\u003c/a>‘s unkempt, late-1950s assemblages, but there are some interesting connections. Both artists allow pedestrian materials to fill their pieces with meaning, and both have keen eyes for the aesthetics of rot and decay. Conner’s nylon stocking-strewn pieces evoked a creepy sense of emotional degradation and entropy. Larson takes our breath away with his unvarnished inventory of self-induced abuse.\u003c/p>\n\u003cp>Another inspirational Bay Area practitioner of the found-object tradition was \u003ca href=\"http://www.netropolitan.org/herms/herms_main.html\">George Herms\u003c/a>, who, in the late 1950s, lived in a shack on the Larkspur canal. Herms’ funky constructions were sunnier than Conner’s: The \u003ci>San Francisco Chronicle\u003c/i>‘s Thomas Albright once referred to Herms’ work as “gentle and genial.” That was certainly true for much of his output (in later years, the letters L, O, V, and E would grace most of his pieces), but it should be remembered that his 1961 show at the Batman Gallery (a famous Beat hangout) on Fillmore Street in San Francisco featured an installation called \u003cb>The Meat Market\u003c/b>, which paired baby dolls and butcher-shop price tags.\u003c/p>\n\u003cp>The Slant Step Show of 1966, at the Berkeley Gallery in San Francisco, codified the role of the found object in art. Then a U.C. Davis art professor, \u003ca href=\"http://www.williamtwiley.com/\">William T. Wiley\u003c/a> had found an enigmatic, linoleum-covered object in a thrift shop (it turned out to be a stool designed to be placed beneath the feet in order to help produce a bowel movement). Artists from \u003ca href=\"http://en.wikipedia.org/wiki/Bruce_Nauman\">Bruce Nauman\u003c/a>, one of Wiley’s students at the time, to Jim Melchert were invited to riff on the Slant Step in a wry, “readymade” group grope.\u003c/p>\n\u003cp>By the 1960s and ’70s, these transformative impulses had spread beyond the galleries. Down on the Emeryville mudflats, just north of the approach to the Bay Bridge, anonymous artists with no goal greater than not sinking up to their necks in the briny muck made stuff out of junk for the pure pleasure of doing it. They created impromptu public sculptures cobbled together from the waterlogged flotsam and jetsam that routinely washed up on the muddy shore. To be sure, there were a lot of dopey stick figures and childlike depictions of dogs, but there were also complex dinosaurs and giraffes, guitarists and drummers, even a lunar lander topped with an American flag. When Caltrans cleaned up the site in the 1980s, one of the last, free, messy, imperfect relics of the San Francisco Bay Area in the 1960s died.\u003c/p>\n\u003cp>Still, artists remained drawn to junk. To give them an outlet, and perhaps recycle a fraction of the city’s trash before sending it off to the landfill, San Francisco’s city dump developed an >a href=”http://www.sunsetscavenger.com/AIR/index.php?t=d”>Artist in Residence program in 1990, providing local artists with studio space, equipment and access to materials from the waste stream.\u003c/p>\n\u003cp>That first year, William Wareham cut and welded dozens of sculptures from busted up grocery carts, metal springs, and water heaters. Since then more than 80 artists have been given the opportunity to make art out of stuff San Franciscans throw away. Indeed, two of \u003cb>Afterlife’s\u003c/b> highlights were produced by Scott Oliver, an alum of the SF Dump’s class of 2008. Oliver’s “Loop” is a found fake-wood-grain Formica table that has been meticulously sliced and reassembled so that its center sags almost to the floor. A found orb-shaped fixture hangs overhead, casting a circle of light through the hole in the table.\u003c/p>\n\u003cp>In contrast to the unexpected elegance of “Loop,” Oliver’s “The Valley” is a violated green fabric easy chair, whose exposed springs, foam and padding read like some kind of furniture autopsy. However, topography is more what Oliver had in mind; a variation on the landscape painting hangs behind the chair. Scraps of green thread suggest vegetation, with layers and striations of furniture padding, presumably from the chair itself, standing in for a Yosemite-like valley.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-valley.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Two other artists successfully mine the vein of repetition offered by recycled materials. Charlotte Kruk’s dress made of stitched together packages of toothpaste is circled overhead by a flock of winged, stuffed hearts covered in chewing gum packaging. Ann Weber contributes a trio of odd-looking biomorphic shapes, including “Topsy,” whose exterior is wrapped in ribbons of cardboard Clos du Bois boxes.\u003c/p>\n\u003cp>“When an object has been discharged from its original purpose it still carries some association with its past. When that association is altered it takes on new meaning,” writes \u003cb>Afterlife\u003c/b> curator Kathryn Funk. True enough, but in the end, it’s always been about what artists do with their materials, not the fact that their materials have a past. The particular challenge for an artist working with recycled materials is to permanently remove those materials from the waste stream; the risk is that the art gallery may merely be a detour on the way back to the dump. When such artworks succeed, as many in \u003cb>Afterlife\u003c/b> do, the result is a triumph of the human spirit over the endless acres of waste that are the byproducts of our lives. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> runs through January 23, 2010 at San Jose Institute of Contemporary Art. For \u003ca href=\"http://sjica.org\">more information\u003c/a>, visit sjica.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Afterlife\u003c/b>, currently at the San Jose Institute of Contemporary Art, is not the first exhibition to devote itself the work of artists who use nothing but recycled materials, nor will it be the last. The show opened just a few weeks after San Francisco enacted a tough new recycling and composting law, a coincidence that reminds us of the Bay Area’s position at the forefront of recycling practices, in all their forms. Indeed, \u003cb>Afterlife\u003c/b> continues an international tradition of making art out of everyday objects, including the stuff most of us routinely kick to the curb.\u003c/p>\n\u003cp>Early in the last century, French surrealist Marcel Duchamp shocked the art world with his “\u003ca href=\"http://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp\">readymades\u003c/a>,” artworks made out of ordinary manufactured objects. The most famous of these were his “\u003ca href=\"http://en.wikipedia.org/wiki/Bicycle_Wheel\">Bicycle Wheel\u003c/a>,” a tireless rim mounted by its fork to a painted stool, and “\u003ca href=\"http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29\">Fountain\u003c/a>,” a urinal turned on its side and signed by the artist. In both cases, Duchamp’s refusal to take things at their face value is what transformed these common objects into art.\u003c/p>\n\u003cp>The impulse to elevate the everyday has gone through many mutations since, notably in \u003ca href=\"http://www.josephcornellbox.com/\">Joseph Cornell\u003c/a>‘s collages and boxes, \u003ca href=\"http://www.metmuseum.org/Special/se_event.asp?OccurrenceId=%7B6E31DECE-D293-4EB0-BBB8-3A78F4EA2EC1%7D\">Robert Rauschenberg’s Combines\u003c/a> and the work of Southern California artists from \u003ca href=\"http://www.beatmuseum.org/kienholz/edkienholz.html\">Ed Kienholz\u003c/a> to Simon Rodia, who produced the region’s most important piece of public sculpture, \u003ca href=\"http://www.greatbuildings.com/buildings/Watts_Towers.html\">Watts Towers. In the Bay Area, many of the \u003c/a>\u003ca href=\"http://www.wsu.edu/~delahoyd/20th/funk.html\">“Funk” artists\u003c/a>, from Bruce Conner to Robert Hudson, produced work using unlikely combinations of techniques and materials, including found objects.\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> contains some startling pieces, regardless of where they fit, or don’t, in this continuum. For the most part, the best works celebrate the repetition that can occur when working with recycled materials, particularly recycled packaging. Thus, the exhibition’s centerpiece is a triptych by Robert Larson called “Twelve Titles,” which consists of three 8-by-10-foot linen panels, each papered with a grid of Surgeon General’s Warnings from found packs of Marlboros. Larson has grouped the labels by their relative degrees of filthiness, as well as by the type of warning that appears on the label (the warning has varied over the years). The result is an almost hypnotic abstraction of subtle patterns, which seem to blur and shimmer as you approach or move away from the piece to admire its formal, scruffy beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-cigs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first glance, Larson’s orderly piece does not seem descended from San Franciscan \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Bruce_COnner.html\">Bruce Conner\u003c/a>‘s unkempt, late-1950s assemblages, but there are some interesting connections. Both artists allow pedestrian materials to fill their pieces with meaning, and both have keen eyes for the aesthetics of rot and decay. Conner’s nylon stocking-strewn pieces evoked a creepy sense of emotional degradation and entropy. Larson takes our breath away with his unvarnished inventory of self-induced abuse.\u003c/p>\n\u003cp>Another inspirational Bay Area practitioner of the found-object tradition was \u003ca href=\"http://www.netropolitan.org/herms/herms_main.html\">George Herms\u003c/a>, who, in the late 1950s, lived in a shack on the Larkspur canal. Herms’ funky constructions were sunnier than Conner’s: The \u003ci>San Francisco Chronicle\u003c/i>‘s Thomas Albright once referred to Herms’ work as “gentle and genial.” That was certainly true for much of his output (in later years, the letters L, O, V, and E would grace most of his pieces), but it should be remembered that his 1961 show at the Batman Gallery (a famous Beat hangout) on Fillmore Street in San Francisco featured an installation called \u003cb>The Meat Market\u003c/b>, which paired baby dolls and butcher-shop price tags.\u003c/p>\n\u003cp>The Slant Step Show of 1966, at the Berkeley Gallery in San Francisco, codified the role of the found object in art. Then a U.C. Davis art professor, \u003ca href=\"http://www.williamtwiley.com/\">William T. Wiley\u003c/a> had found an enigmatic, linoleum-covered object in a thrift shop (it turned out to be a stool designed to be placed beneath the feet in order to help produce a bowel movement). Artists from \u003ca href=\"http://en.wikipedia.org/wiki/Bruce_Nauman\">Bruce Nauman\u003c/a>, one of Wiley’s students at the time, to Jim Melchert were invited to riff on the Slant Step in a wry, “readymade” group grope.\u003c/p>\n\u003cp>By the 1960s and ’70s, these transformative impulses had spread beyond the galleries. Down on the Emeryville mudflats, just north of the approach to the Bay Bridge, anonymous artists with no goal greater than not sinking up to their necks in the briny muck made stuff out of junk for the pure pleasure of doing it. They created impromptu public sculptures cobbled together from the waterlogged flotsam and jetsam that routinely washed up on the muddy shore. To be sure, there were a lot of dopey stick figures and childlike depictions of dogs, but there were also complex dinosaurs and giraffes, guitarists and drummers, even a lunar lander topped with an American flag. When Caltrans cleaned up the site in the 1980s, one of the last, free, messy, imperfect relics of the San Francisco Bay Area in the 1960s died.\u003c/p>\n\u003cp>Still, artists remained drawn to junk. To give them an outlet, and perhaps recycle a fraction of the city’s trash before sending it off to the landfill, San Francisco’s city dump developed an >a href=”http://www.sunsetscavenger.com/AIR/index.php?t=d”>Artist in Residence program in 1990, providing local artists with studio space, equipment and access to materials from the waste stream.\u003c/p>\n\u003cp>That first year, William Wareham cut and welded dozens of sculptures from busted up grocery carts, metal springs, and water heaters. Since then more than 80 artists have been given the opportunity to make art out of stuff San Franciscans throw away. Indeed, two of \u003cb>Afterlife’s\u003c/b> highlights were produced by Scott Oliver, an alum of the SF Dump’s class of 2008. Oliver’s “Loop” is a found fake-wood-grain Formica table that has been meticulously sliced and reassembled so that its center sags almost to the floor. A found orb-shaped fixture hangs overhead, casting a circle of light through the hole in the table.\u003c/p>\n\u003cp>In contrast to the unexpected elegance of “Loop,” Oliver’s “The Valley” is a violated green fabric easy chair, whose exposed springs, foam and padding read like some kind of furniture autopsy. However, topography is more what Oliver had in mind; a variation on the landscape painting hangs behind the chair. Scraps of green thread suggest vegetation, with layers and striations of furniture padding, presumably from the chair itself, standing in for a Yosemite-like valley.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-valley.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Two other artists successfully mine the vein of repetition offered by recycled materials. Charlotte Kruk’s dress made of stitched together packages of toothpaste is circled overhead by a flock of winged, stuffed hearts covered in chewing gum packaging. Ann Weber contributes a trio of odd-looking biomorphic shapes, including “Topsy,” whose exterior is wrapped in ribbons of cardboard Clos du Bois boxes.\u003c/p>\n\u003cp>“When an object has been discharged from its original purpose it still carries some association with its past. When that association is altered it takes on new meaning,” writes \u003cb>Afterlife\u003c/b> curator Kathryn Funk. True enough, but in the end, it’s always been about what artists do with their materials, not the fact that their materials have a past. The particular challenge for an artist working with recycled materials is to permanently remove those materials from the waste stream; the risk is that the art gallery may merely be a detour on the way back to the dump. When such artworks succeed, as many in \u003cb>Afterlife\u003c/b> do, the result is a triumph of the human spirit over the endless acres of waste that are the byproducts of our lives. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> runs through January 23, 2010 at San Jose Institute of Contemporary Art. For \u003ca href=\"http://sjica.org\">more information\u003c/a>, visit sjica.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco artist Tara Foley creates worlds in her delicate drawings. In \u003cb>Either in a Million Years or Until the Bitter End\u003c/b>, her current show at Adobe Books Backroom Gallery, cliffs and cathedrals float on the page, their forms twisted around mandalas and repeated imagery. Foley writes that the show is about memory, real and imagined, personal and collective. And there is something familiar about it, the way a Grimm’s fairy tale can feel familiar and yet unexplored.\u003c/p>\n\u003cp>While this show consists mostly of drawings, Foley, not a stranger to installation, includes a three-sided monochrome paper citadel, which hangs in a corner of the gallery. Light from a projector glows from the windows. Walk around and peak in; there’s a comfortable, fancy-looking interior projected on the inside walls of the paper castle. Despite dimensional differences, the installation echoes the architectural elements of the drawings in the show.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>Foley draws imposing structures, but then softens them. Her castles and cathedrals are dreamlike: in “The Hands Hold Up the Feet” spires are built of hands and teeth, and in “The Mysterious Sleep” pillars bloom out of arms and legs, and hair twists into structural details. Foley’s drawings are mysterious without being threatening; there’s comfort and richness in her colors and shapes, even when they take unfamiliar form.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley had another show at Adobe earlier this year, before the Backroom Gallery was remodeled. Adobe’s a fitting match for her, both the bookstore and her drawings have nooks and crannies stuffed with details, the closer you look, the more there is to see. With cliffs plunging into a couch, and a golden citadel rising from the cushions, “Neither Still Waters or the Great Abyss” could be a flag for Adobe, recalling its precarious piles of books, and low-slung, well-used furniture.\u003c/p>\n\u003cp>Vaguely familiar but still magical, not quite safe but not sinister either, the drawings in \u003cb>Either in a Million Years or Until the Bitter End\u003c/b> transport the viewer into buildings carved out of cliffs, held up by feet, and adorned with hands, where organic forms disappear into each other while twists and patterns bloom out of them. But Foley keeps her buildings suspended, either in the air or in the middle of the page. Even while they draw you in, there’s an edge in sight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Either in a Million Years or Until the Bitter End\u003c/b> runs through December 1, 2009 at Adobe Books Backroom Gallery in San Francisco.For \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com/\">information\u003c/a>, visit adobebooksbackroomgallery.blogspot.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco artist Tara Foley creates worlds in her delicate drawings. In \u003cb>Either in a Million Years or Until the Bitter End\u003c/b>, her current show at Adobe Books Backroom Gallery, cliffs and cathedrals float on the page, their forms twisted around mandalas and repeated imagery. Foley writes that the show is about memory, real and imagined, personal and collective. And there is something familiar about it, the way a Grimm’s fairy tale can feel familiar and yet unexplored.\u003c/p>\n\u003cp>While this show consists mostly of drawings, Foley, not a stranger to installation, includes a three-sided monochrome paper citadel, which hangs in a corner of the gallery. Light from a projector glows from the windows. Walk around and peak in; there’s a comfortable, fancy-looking interior projected on the inside walls of the paper castle. Despite dimensional differences, the installation echoes the architectural elements of the drawings in the show.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>Foley draws imposing structures, but then softens them. Her castles and cathedrals are dreamlike: in “The Hands Hold Up the Feet” spires are built of hands and teeth, and in “The Mysterious Sleep” pillars bloom out of arms and legs, and hair twists into structural details. Foley’s drawings are mysterious without being threatening; there’s comfort and richness in her colors and shapes, even when they take unfamiliar form.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foley had another show at Adobe earlier this year, before the Backroom Gallery was remodeled. Adobe’s a fitting match for her, both the bookstore and her drawings have nooks and crannies stuffed with details, the closer you look, the more there is to see. With cliffs plunging into a couch, and a golden citadel rising from the cushions, “Neither Still Waters or the Great Abyss” could be a flag for Adobe, recalling its precarious piles of books, and low-slung, well-used furniture.\u003c/p>\n\u003cp>Vaguely familiar but still magical, not quite safe but not sinister either, the drawings in \u003cb>Either in a Million Years or Until the Bitter End\u003c/b> transport the viewer into buildings carved out of cliffs, held up by feet, and adorned with hands, where organic forms disappear into each other while twists and patterns bloom out of them. But Foley keeps her buildings suspended, either in the air or in the middle of the page. Even while they draw you in, there’s an edge in sight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Either in a Million Years or Until the Bitter End\u003c/b> runs through December 1, 2009 at Adobe Books Backroom Gallery in San Francisco.For \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com/\">information\u003c/a>, visit adobebooksbackroomgallery.blogspot.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>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. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I headed to the Yerba Buena Center for the Arts to revel in the Brazilian spirit of their latest exhibition, \u003cb>When Lives Become Form\u003c/b>. Having recently won a bid for the Olympics (despite the magical powers of Oprah and Obama), Brazil is really hot right now and so are its artists. On opening night, movers and shakers took some time away from the impressive art collection and put down their Campari cocktails to share their thoughts on the exhibit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/klover-kim.jpg\">\u003c/p>\n\u003cp>\u003cb>Klover Kim pictured with Isabela Capeto’s piece, \u003ci>Lucha Libre\u003c/i> \u003c/b>\u003cbr>“My next vacation destination I hope would be Brazil but this is the closest I can get to it right now, so I thought I’d come and pretend like I was there and get in the spirit.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-3.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vivian-crockett.jpg\">\u003c/p>\n\u003cp>\u003cb>Vivian Crockett\u003c/b>\u003cbr>“I’m excited about this show for lots of reasons. I was born in Brazil and my family is Brazilian and American. Growing up, art that was privileged most of the time was mainstream American or European art, and there are so many amazing, radical, experimental Brazilian artists that I only got to know in my 20s. Once I started doing actual research on them, it sort of opened a whole new world. I’m excited to see all this work here and also see what contemporary artists are doing. Unfortunately I don’t get to go back to Brazil all that often, so it’s nice to see artists I haven’t heard about that are doing work in the city where I’m from and around the Bay Area.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-4.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alex-crane.jpg\">\u003c/p>\n\u003cp>\u003cb>Alex Crane\u003c/b>\u003cbr>“I’ve come to this show primarily so that I can get a sense of Brazilian culture through the eyes of my friend, she’s studying Portuguese.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/katie-freitas.jpg\">\u003c/p>\n\u003cp>\u003cb>Katie Freitas\u003c/b>\u003cbr>“I’m majoring in Brazilian studies so obviously this pertains to what I’m studying. My studies span literature, art, history and politics — it’s a broad spectrum of things.”\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-5.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/adal-castellon.jpg\">\u003c/p>\n\u003cp>\u003cb>Adal Castellon Jr. in front of Jum Nakao’s video called \u003ci>Sewing the Invisible\u003c/i>\u003c/b>\u003cbr>“My favorite piece here is one that I’d already seen, it’s a video of a fashion show where all the models tore off their dresses at the end of the show. I didn’t know it was going to be part of this show but I just saw it and got goose bumps, and every time I see it I get goose bumps! Jum Nakao is the artist and he made a whole collection out of organic paper and had the models do a show. At the very end they all did the final catwalk and then turned around and started ripping off the clothes. That’s always been my favorite one.” \u003c/p>\n\u003cp> <img src=\"http://a.s.kqed.net/img/arts/blog/ybca-6.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-7.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-8.jpg\"\u003c/p>\n\u003cp>\u003cb>When Lives Become Form\u003c/b> runs through January 31, 2010. For \u003ca href=\"http://www.ybca.org\">more information\u003c/a>, visit ybca.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-4.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alex-crane.jpg\">\u003c/p>\n\u003cp>\u003cb>Alex Crane\u003c/b>\u003cbr>“I’ve come to this show primarily so that I can get a sense of Brazilian culture through the eyes of my friend, she’s studying Portuguese.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/katie-freitas.jpg\">\u003c/p>\n\u003cp>\u003cb>Katie Freitas\u003c/b>\u003cbr>“I’m majoring in Brazilian studies so obviously this pertains to what I’m studying. My studies span literature, art, history and politics — it’s a broad spectrum of things.”\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-5.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/adal-castellon.jpg\">\u003c/p>\n\u003cp>\u003cb>Adal Castellon Jr. in front of Jum Nakao’s video called \u003ci>Sewing the Invisible\u003c/i>\u003c/b>\u003cbr>“My favorite piece here is one that I’d already seen, it’s a video of a fashion show where all the models tore off their dresses at the end of the show. I didn’t know it was going to be part of this show but I just saw it and got goose bumps, and every time I see it I get goose bumps! Jum Nakao is the artist and he made a whole collection out of organic paper and had the models do a show. At the very end they all did the final catwalk and then turned around and started ripping off the clothes. That’s always been my favorite one.” \u003c/p>\n\u003cp> <img src=\"http://a.s.kqed.net/img/arts/blog/ybca-6.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-7.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-8.jpg\"\u003c/p>\n\u003cp>\u003cb>When Lives Become Form\u003c/b> runs through January 31, 2010. For \u003ca href=\"http://www.ybca.org\">more information\u003c/a>, visit ybca.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Charles Darwin made his voyage to the Galapagos Islands as a young man, and then went home and mulled over his ideas about evolution for years. Conveniently enough for celebrants of modern science, he finally published his theory, after decades of waffling, at age 50. That makes 2009 a big Darwin year: both the 200th anniversary of his birth (that was in February) and the 150th anniversary of the publication of \u003cb>On the Origin of Species\u003c/b> (later this month). \u003cb>Evidence of Evolution\u003c/b>, a new book from Bay Area photographer Susan Middleton and author Mary Ellen Hannibal takes advantage of the timing. It’s out now, and the authors have a couple of events planned to celebrate this month’s \u003cb>Origin\u003c/b> anniversary.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p59bottom.jpg\">\u003c/center>\n\u003cp>Middleton and Hannibal teamed up to comb through the California Academy of Sciences’ collection of specimens and to interview working scientists there. The result is an elegant book, full of vivid, vibrant photographs (ironically all of dead things) and clear, down-to-earth text. Hannibal and Middleton explain and illustrate the intricacies of how evolution works, going beyond textbook definitions to tell the stories of species’ singular traits and common attributes. It’s a solid introduction for anyone, and a lovely visual reference even for those more versed in Darwin’s theory. Even the captions for the photographs contain gems of information; one caption introducing several Galapagos tortoises, each from a different environment, points out the shapes of their shells, differing depending on the availability of food where each subspecies evolved.\u003c/p>\n\u003cp>Middleton and Hannibal had extraordinary access to the Academy. Beyond the aquarium, beyond the living roof, beyond the rainforest and planetarium and penguin feedings, the California Academy of Sciences is a research institution and home to more than twenty million specimens. These specimens — of endangered California plants, newly discovered Asian reptiles, long-extinct mollusks — are the evidence for evolution. They form the backbone of natural history research and the heart of \u003cb>Evidence for Evolution\u003c/b>. And, as Hannibal and Middleton point out, the specimens of now-living species may serve as historical references some day down the line if habitat destruction and climate change continue unabated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p79.jpg\">\u003c/center>\n\u003cp>Susan Middleton and Mary Ellen Hannibal will read and show blown-up photographs from the book twice this week at the California Academy of Sciences. Middleton says these photos provide “a peak into the inner sanctum of the Academy.” They’re a link to scientists working today, explorers and naturalists working two hundred years ago, and to historians working hundreds of years from now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Ellen Hannibal and Susan Middleton will show photos and read from \u003cb>Evidence of Evolution\u003c/b> on Tuesday, November 10, 2009 and Thursday, November 12, 2009 at California Academy of Sciences in San Francisco. For \u003ca href=\"http://www.calacademy.org/events/?e=256&d=10&m=11&y=2009\">tickets and information\u003c/a>, visit calacademy.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Photo credits: Susan Middleton; Evidence of Evolution (Abrams; 2009)\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charles Darwin made his voyage to the Galapagos Islands as a young man, and then went home and mulled over his ideas about evolution for years. Conveniently enough for celebrants of modern science, he finally published his theory, after decades of waffling, at age 50. That makes 2009 a big Darwin year: both the 200th anniversary of his birth (that was in February) and the 150th anniversary of the publication of \u003cb>On the Origin of Species\u003c/b> (later this month). \u003cb>Evidence of Evolution\u003c/b>, a new book from Bay Area photographer Susan Middleton and author Mary Ellen Hannibal takes advantage of the timing. It’s out now, and the authors have a couple of events planned to celebrate this month’s \u003cb>Origin\u003c/b> anniversary.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p59bottom.jpg\">\u003c/center>\n\u003cp>Middleton and Hannibal teamed up to comb through the California Academy of Sciences’ collection of specimens and to interview working scientists there. The result is an elegant book, full of vivid, vibrant photographs (ironically all of dead things) and clear, down-to-earth text. Hannibal and Middleton explain and illustrate the intricacies of how evolution works, going beyond textbook definitions to tell the stories of species’ singular traits and common attributes. It’s a solid introduction for anyone, and a lovely visual reference even for those more versed in Darwin’s theory. Even the captions for the photographs contain gems of information; one caption introducing several Galapagos tortoises, each from a different environment, points out the shapes of their shells, differing depending on the availability of food where each subspecies evolved.\u003c/p>\n\u003cp>Middleton and Hannibal had extraordinary access to the Academy. Beyond the aquarium, beyond the living roof, beyond the rainforest and planetarium and penguin feedings, the California Academy of Sciences is a research institution and home to more than twenty million specimens. These specimens — of endangered California plants, newly discovered Asian reptiles, long-extinct mollusks — are the evidence for evolution. They form the backbone of natural history research and the heart of \u003cb>Evidence for Evolution\u003c/b>. And, as Hannibal and Middleton point out, the specimens of now-living species may serve as historical references some day down the line if habitat destruction and climate change continue unabated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p79.jpg\">\u003c/center>\n\u003cp>Susan Middleton and Mary Ellen Hannibal will read and show blown-up photographs from the book twice this week at the California Academy of Sciences. Middleton says these photos provide “a peak into the inner sanctum of the Academy.” They’re a link to scientists working today, explorers and naturalists working two hundred years ago, and to historians working hundreds of years from now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Ellen Hannibal and Susan Middleton will show photos and read from \u003cb>Evidence of Evolution\u003c/b> on Tuesday, November 10, 2009 and Thursday, November 12, 2009 at California Academy of Sciences in San Francisco. For \u003ca href=\"http://www.calacademy.org/events/?e=256&d=10&m=11&y=2009\">tickets and information\u003c/a>, visit calacademy.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Photo credits: Susan Middleton; Evidence of Evolution (Abrams; 2009)\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the edge of the Castro, looking down Market Street at dusk, Market almost looks beautiful with its streetlights, trees, and brick sidewalks. But it is not a street I try to linger on. Tourists and high-end shoppers, drug addicts and commuters can be a potent mix. Market’s never been ignored, though it’s certainly seen better days. And lately, it’s been getting just a bit more attention. 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The best pieces really take advantage of the setting, using the storefronts like dioramas, adding to the street scene and being inspired by it. \u003ca href=\"http://www.paulandrewhayes.com/\">Paul Hayes\u003c/a>‘s “Giant Ghosts” is made of crumpled pieces of paper strewn around and hung up to take the form of huge figures swaying in soft light. The giant ghosts seem benevolent. They feel removed from the hectic street, even though they’re rustling and looming nearby. The effect draws onlookers into their quiet world.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship.jpg\">\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/sfac\">SFAC\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship2.jpg\">\u003c/p>\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Across the street from those dimly-lit piles of paper, \u003ca href=\"http://www.alexisamann.com/\">Alexis Amann\u003c/a> and \u003ca href=\"http://www.jburstein.com/\">Jonathan Burstein\u003c/a>‘s “Don’t Give Up the Ship” glows from a smaller storefront. A blacklight mermaid and diver float in a neon underwater world, echoing the psychedelic posters of San Francisco’s past, and referencing our present and future of rising sea levels and the ongoing foreclosure crisis. A block down, in \u003ca href=\"http://www.lizmaher.com/\">Liz Maher\u003c/a>‘s “No One Seems to Care That I Want Roots,” Victorian row houses reach out and cling to hills as they’re pulled up into pillowy clouds. Trying to hold on to location and time, they’re forced into movement and change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noonecares2.jpg\">\n\u003cp>\u003ci>“No One Seems to Care that I Want Roots” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>But there are certain difficulties that come with art in public spaces that you just don’t get in a gallery. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the edge of the Castro, looking down Market Street at dusk, Market almost looks beautiful with its streetlights, trees, and brick sidewalks. But it is not a street I try to linger on. Tourists and high-end shoppers, drug addicts and commuters can be a potent mix. Market’s never been ignored, though it’s certainly seen better days. And lately, it’s been getting just a bit more attention. We’re mid-way through the ban on private cars, the ballot initiative to allow billboards on certain blocks to raise money for the area is coming up in a couple weeks, and last weekend the \u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\"> San Francisco Arts Commission\u003c/a>, along with a couple other city agencies and \u003ca href=\"http://basebasebase.com/\">Triple Base gallery\u003c/a> launched its first \u003cb>\u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\">Art in Storefronts\u003c/a>\u003c/b> show, on Market between 5th and 7th.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/giant-ghosts.jpg\">\n\u003cp>\u003ci>“Giant Ghosts” (photo credit: \u003ca href=\"http://www.flickr.com/photos/paulandrewhayes/\">Paul Hayes\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Art in Storefronts\u003c/b>, which, by the end of the year will also include art installed in empty storefronts in the Tenderloin, the Mission, and the Bayview, makes sense: local artists get visibility and recognition, empty storefronts look better than they did before, and maybe some people will visit (and linger in) neighborhoods they wouldn’t have otherwise. The best pieces really take advantage of the setting, using the storefronts like dioramas, adding to the street scene and being inspired by it. \u003ca href=\"http://www.paulandrewhayes.com/\">Paul Hayes\u003c/a>‘s “Giant Ghosts” is made of crumpled pieces of paper strewn around and hung up to take the form of huge figures swaying in soft light. The giant ghosts seem benevolent. They feel removed from the hectic street, even though they’re rustling and looming nearby. The effect draws onlookers into their quiet world.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship.jpg\">\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/sfac\">SFAC\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship2.jpg\">\u003c/p>\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Across the street from those dimly-lit piles of paper, \u003ca href=\"http://www.alexisamann.com/\">Alexis Amann\u003c/a> and \u003ca href=\"http://www.jburstein.com/\">Jonathan Burstein\u003c/a>‘s “Don’t Give Up the Ship” glows from a smaller storefront. A blacklight mermaid and diver float in a neon underwater world, echoing the psychedelic posters of San Francisco’s past, and referencing our present and future of rising sea levels and the ongoing foreclosure crisis. A block down, in \u003ca href=\"http://www.lizmaher.com/\">Liz Maher\u003c/a>‘s “No One Seems to Care That I Want Roots,” Victorian row houses reach out and cling to hills as they’re pulled up into pillowy clouds. Trying to hold on to location and time, they’re forced into movement and change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noonecares2.jpg\">\n\u003cp>\u003ci>“No One Seems to Care that I Want Roots” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>But there are certain difficulties that come with art in public spaces that you just don’t get in a gallery. Tagging, window etching, crazy people, and some pungent smells are all pitfalls of an outdoor show (maybe some of these are found in galleries, too). It can be hard to stop and look while people bustle by. But as I walked back to BART and glanced back across the street at \u003ca href=\"http://www.fanciemammal.com/\">Helen Bayly and Leanne Miller\u003c/a>‘s mural of nature in the city, the street seemed quieter. The streetlights had come on and there was less traffic. Other people on my side of the street glanced across, too, looking at the mural’s plants and animals instead of dirty sidewalks and dark storefronts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Art in Storefronts\u003c/b> runs through Januray, 2010. Installations in the Tenderloin and on Market Street are already up; they will open in the Bayview on October 30 and on 24th Street on November 20. You can \u003ca href=\"http://www.sfartscommission.org/CAE/wp-content/uploads/2009/09/SFAC_WebMap_Market_V1.pdf%20\">download a map\u003c/a> of \u003cb>Art in Storefronts\u003c/b> on Market Street. For \u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\">more locations and information\u003c/a>, visit sfartscommission.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>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. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I headed to Southern Exposure to help celebrate their new space, their thirty-five-year anniversary, and their inaugural exhibition, \u003cb>Bellwether\u003c/b>. SoEx, as it’s affectionately known, is a non-profit arts organization that has finally found a permanent home in the Mission after years of space-hopping. During the opening weekend block party, supporters were at no loss for words when asked why SoEx is important to the community.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soexx.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/christine-yap.jpg\">\u003c/p>\n\u003cp>\u003cb>Christine Wong Yap, artist (reflected in her artwork titled mirrorsblack)\u003c/b>\u003cbr>“Tonight shows that it’s a major coup for Southern Exposure to be able to get a new building, make an amazing space, and throw a great neighborhood party in this economy. The thing that really moves me is that it’s a women-led organization. They’re all amazing women, they’re really great to work with, and they’re in it for the right reasons — to support artists and have a really strong community base.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-1.jpg\">\u003ci>Liz Glynn, Banner Year\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/courtney-sexton.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Courtney Sexton, SoEx volunteer\u003c/b>\u003cbr>“I’m really excited that Southern Exposure is back in this neighborhood again. There are a lot of cool new places around here like \u003ca href=\"http://www.piratecatradio.com/\">Pirate Cat Radio\u003c/a> and \u003ca href=\"http://flourandwater.com/\">Flour & Water\u003c/a>, and I think this is going to be a really great place to hang out in the Mission.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-4.jpg\">\u003ci>Lordy Rodriguez, First Colony\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/misako.jpg\">\u003c/p>\n\u003cp>\u003cb>Misako Inaoka, artist\u003c/b>\u003cbr>“Southern Exposure is really supportive and gives opportunities to artists. Not only the opportunity to show, but to teach or collaborate with younger artists and the community, which is great. It’s one of the best art organizations in the city.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ken-lo.jpg\">\u003c/p>\n\u003cp>\u003cb>Ken Lo, artist [center]\u003c/b>\u003cbr>“My favorite thing about Southern Exposure is its involvement with the community and its support of emerging artists that other galleries and museums aren’t quite aware of yet or don’t have the facilities to support. There’s a lot of conceptual and contemporary work that passes through here, and you can see some interesting projects.”\u003c/p>\n\u003cp>\u003cb>David Huff, curator [right]\u003c/b>\u003cbr>“I think places like Southern Exposure allow artists the chance to fail. If you’re a commercial gallery or museum, things have to work exactly right. But Southern Exposure takes chances on artists; they’re signing on with artists without actually knowing what they’re going to make, and I think we need more of that.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-2.jpg\">\u003ci> Renée Gertler, Deluge Collapse \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sue-lopez.jpg\">\u003c/p>\n\u003cp>\u003cb>Sue Lopez [right], SoEx volunteer\u003c/b>\u003cbr>“Southern Exposure curates artists, not artwork. They provide opportunities for artists to do new work in a safe space, and if it doesn’t work, that’s fine. That just means Southern Exposure is doing its job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>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. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I headed to Southern Exposure to help celebrate their new space, their thirty-five-year anniversary, and their inaugural exhibition, \u003cb>Bellwether\u003c/b>. SoEx, as it’s affectionately known, is a non-profit arts organization that has finally found a permanent home in the Mission after years of space-hopping. During the opening weekend block party, supporters were at no loss for words when asked why SoEx is important to the community.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soexx.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/christine-yap.jpg\">\u003c/p>\n\u003cp>\u003cb>Christine Wong Yap, artist (reflected in her artwork titled mirrorsblack)\u003c/b>\u003cbr>“Tonight shows that it’s a major coup for Southern Exposure to be able to get a new building, make an amazing space, and throw a great neighborhood party in this economy. The thing that really moves me is that it’s a women-led organization. They’re all amazing women, they’re really great to work with, and they’re in it for the right reasons — to support artists and have a really strong community base.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-1.jpg\">\u003ci>Liz Glynn, Banner Year\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/courtney-sexton.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Courtney Sexton, SoEx volunteer\u003c/b>\u003cbr>“I’m really excited that Southern Exposure is back in this neighborhood again. There are a lot of cool new places around here like \u003ca href=\"http://www.piratecatradio.com/\">Pirate Cat Radio\u003c/a> and \u003ca href=\"http://flourandwater.com/\">Flour & Water\u003c/a>, and I think this is going to be a really great place to hang out in the Mission.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-4.jpg\">\u003ci>Lordy Rodriguez, First Colony\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/misako.jpg\">\u003c/p>\n\u003cp>\u003cb>Misako Inaoka, artist\u003c/b>\u003cbr>“Southern Exposure is really supportive and gives opportunities to artists. Not only the opportunity to show, but to teach or collaborate with younger artists and the community, which is great. It’s one of the best art organizations in the city.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ken-lo.jpg\">\u003c/p>\n\u003cp>\u003cb>Ken Lo, artist [center]\u003c/b>\u003cbr>“My favorite thing about Southern Exposure is its involvement with the community and its support of emerging artists that other galleries and museums aren’t quite aware of yet or don’t have the facilities to support. There’s a lot of conceptual and contemporary work that passes through here, and you can see some interesting projects.”\u003c/p>\n\u003cp>\u003cb>David Huff, curator [right]\u003c/b>\u003cbr>“I think places like Southern Exposure allow artists the chance to fail. If you’re a commercial gallery or museum, things have to work exactly right. But Southern Exposure takes chances on artists; they’re signing on with artists without actually knowing what they’re going to make, and I think we need more of that.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-2.jpg\">\u003ci> Renée Gertler, Deluge Collapse \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sue-lopez.jpg\">\u003c/p>\n\u003cp>\u003cb>Sue Lopez [right], SoEx volunteer\u003c/b>\u003cbr>“Southern Exposure curates artists, not artwork. They provide opportunities for artists to do new work in a safe space, and if it doesn’t work, that’s fine. That just means Southern Exposure is doing its job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Embroidery is not deceptively simple. You would think that the invention of the sewing machine would have made things easier, and while it does help speed up the process of creating shapes with a needle and thread, the intricacies of a sewing machine are so testy that working with one can make an intermediate sewer swear like a sailor. I might be referring to myself, but this \u003ca href=\"http://www.nataliedee.com/070309/those-bobbins-ruin-everything.jpg\">web comic\u003c/a> indicates that it’s a shared experience.\u003c/p>\n\u003cp>Now imagine owning a vintage sewing machine in the modern age and mastering it to the point that you can crank out dynamic thread drawings of things like shark jaws, Campbell’s soup cans, and brass knuckles. The fact that Steve MacDonald can do such things has blown my mind for years. I can’t even remember the first time I saw one of his pieces, and the embellished sweatshirt I once commissioned him to embroider is practically threadbare, but nearly every time he’s participated in a local group show, I’ve made sure to check it out.\u003c/p>\n\u003cp>MacDonald, who also goes by the pseudonym Ramblin’ Worker, has taken fiber art into both sculptural and painterly dimensions. He’s created three-dimensional cuckoo clocks, skateboard decks, and even the surface of a tank that was towed down the streets of Manhattan in the \u003ca href=\"http://www.youtube.com/watch?v=dSUIAWZx1bw\">2006 Deitch Parade\u003c/a>. Using gold or white canvas and red thread as the groundwork for many of his pieces, he plays with symbology, and his style is informed by elements of collage and design.\u003c/p>\n\u003cp>At Gallery Three, the upstairs exhibition space of \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a>, Ramblin’ Worker is currently showing a new body of work appropriately titled \u003cb>Upstairs is Where the Magic Happens\u003c/b>. But the magic actually starts to happen along the stairwell where he painted a geometric mural to back an alphabet of 26 individually framed skate ramp-shaped graphic letters. Thread takes the place of pens, paints, and adhesive — the embroidery is used as an outline, a fill-in, or a structural glue.\u003c/p>\n\u003cp>MacDonald is adept with color, shape, line work, and presentation. Gems in the show include a soaring bird and a multi-colored, overlapping ode to bikes. The show’s title is shared by its signature piece — a side view of a head with the recurring skate ramp image on its mind. It is clear that, like many contemporary young artists, MacDonald’s art is partly driven by graffiti, bike, and skate cultures. It goes without saying that the aforementioned cultures and the world of needlepoint are traditionally gender specific, but the art MacDonald creates is about more than merging boys’ and girls’ hobbies and transcends such obvious observations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Upstairs is Where the Magic Happens\u003c/b> is on view at Gallery Three through November 3rd, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Embroidery is not deceptively simple. You would think that the invention of the sewing machine would have made things easier, and while it does help speed up the process of creating shapes with a needle and thread, the intricacies of a sewing machine are so testy that working with one can make an intermediate sewer swear like a sailor. I might be referring to myself, but this \u003ca href=\"http://www.nataliedee.com/070309/those-bobbins-ruin-everything.jpg\">web comic\u003c/a> indicates that it’s a shared experience.\u003c/p>\n\u003cp>Now imagine owning a vintage sewing machine in the modern age and mastering it to the point that you can crank out dynamic thread drawings of things like shark jaws, Campbell’s soup cans, and brass knuckles. The fact that Steve MacDonald can do such things has blown my mind for years. I can’t even remember the first time I saw one of his pieces, and the embellished sweatshirt I once commissioned him to embroider is practically threadbare, but nearly every time he’s participated in a local group show, I’ve made sure to check it out.\u003c/p>\n\u003cp>MacDonald, who also goes by the pseudonym Ramblin’ Worker, has taken fiber art into both sculptural and painterly dimensions. He’s created three-dimensional cuckoo clocks, skateboard decks, and even the surface of a tank that was towed down the streets of Manhattan in the \u003ca href=\"http://www.youtube.com/watch?v=dSUIAWZx1bw\">2006 Deitch Parade\u003c/a>. Using gold or white canvas and red thread as the groundwork for many of his pieces, he plays with symbology, and his style is informed by elements of collage and design.\u003c/p>\n\u003cp>At Gallery Three, the upstairs exhibition space of \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a>, Ramblin’ Worker is currently showing a new body of work appropriately titled \u003cb>Upstairs is Where the Magic Happens\u003c/b>. But the magic actually starts to happen along the stairwell where he painted a geometric mural to back an alphabet of 26 individually framed skate ramp-shaped graphic letters. Thread takes the place of pens, paints, and adhesive — the embroidery is used as an outline, a fill-in, or a structural glue.\u003c/p>\n\u003cp>MacDonald is adept with color, shape, line work, and presentation. Gems in the show include a soaring bird and a multi-colored, overlapping ode to bikes. The show’s title is shared by its signature piece — a side view of a head with the recurring skate ramp image on its mind. It is clear that, like many contemporary young artists, MacDonald’s art is partly driven by graffiti, bike, and skate cultures. It goes without saying that the aforementioned cultures and the world of needlepoint are traditionally gender specific, but the art MacDonald creates is about more than merging boys’ and girls’ hobbies and transcends such obvious observations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "William T. Wiley does Washington, D.C",
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"content": "\u003cp>A few weeks ago, our nation’s capital tilted noticeably to the left when friends, associates and supporters of the Bay Area’s William T. Wiley stormed Washington, D.C. for the opening of \u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b>, now through January 24, 2010 at the Smithsonian American Art Museum. A concurrent exhibition of new watercolors and constructions at the Marsha Mateyka Gallery near Dupont Circle meant that fans of Wiley’s art had only to hop the Red Line to catch two stellar exhibitions of this important artist’s work.\u003c/p>\n\u003cp>On hand for the festivities were about 30 or so members of the Oakland Museum of California’s Art Guild, who were treated to a private tour of the SAAM show by Wiley and his high-school art teacher, James McGrath, who was in town for the occasion. Representing the Berkeley Art Museum & Pacific Film Archive, which \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/wiley_2010\">hosts the show\u003c/a> from March 17 to July 18, 2010, was that institution’s chief curator and director of programs and collections, Lucinda Barnes. Even Wiley’s congresswoman, Lynn Woolsey, was in the audience for the artist’s talk and musical performance the night before the show’s opening. It’s not every artist, noted SAAM’s director, Elizabeth Broun, who travels with his own congresswoman.\u003c/p>\n\u003cp>But then, Wiley is not every artist and never has been. He has always charted his own course, and his artwork has often been the means to make sense of his life’s journey between both physical spaces (growing up in Bedford, Indiana; attending high school in Richland, Washington; raising a family in west Marin) and metaphysical ones (the teachings of various Zen masters).\u003c/p>\n\u003cp>The 88-piece exhibition began in a room off the main galleries with a selection of early works that suggested the influences of artists from Giorgio di Chirico to Bruce Connor to Marcel Duchamp to H.C. Westermann. If you know Wiley’s work, the room was like a cocktail party with old friends: There’s \u003cb>Mona Lisa Wipe Out\u003c/b> from 1967; oh look, it’s \u003cb>Ship’s Log\u003c/b> (1969) from SFMOMA’s collection; and hasn’t \u003cb>Wizdumb Bridge\u003c/b> (1969) aged well?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-mona-lisa.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Mona Lisa Wipe Out (1967)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Those who were not familiar with the artist’s early work probably had to fight the urge to scoot through this satellite gallery to get to the main event, and who could blame them? What awaited was a trove of Wiley’s most enduring pieces, including watercolors like \u003cb>Lame and Blind in Eden\u003c/b> (1969) and \u003cb>Reading the Stains\u003c/b> (1971), as well as paintings such as \u003cb>Random Remarks and Digs\u003c/b> (1971) and \u003cb>Studio Space\u003c/b> (1975). This was the Wiley many visitors were probably most familiar with. Soon we were deep in a world of map-like landscapes ringed with tattered edges; of seemingly endless layers of mottled surfaces percolating through watercolor wash; of the same effect rendered even more dizzyingly in monotone via charcoal and graphite; of storytelling and musings about current events documented directly onto the artworks; and of the cohabitation of disparate imagery that is at once formal and playful, serious and careless, respectful and irreverent. I could look at this work forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-studio-space.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Studio Space (1975)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Which, of course, is a rather long time to expect an artist to make the same piece, over and over and over. Happily, Wiley moved on, and so did the exhibition, shifting effortlessly between the light touch of a painting-watercolor combo like \u003cb>Nothing Seems Clear\u003c/b> (1978), and the meticulously deliberate messiness of \u003cb>Acid Rain\u003c/b> (1981). As one moved deeper into the exhibition, jarring lightning bolts and fissures of abstract paint began to pierce the work, as if to pick up where the show’s earliest piece, \u003cb>Flag Song\u003c/b> (1959) left off.\u003c/p>\n\u003cp>By the mid-1980s, Wiley’s watercolors, once lyrical and trippy, had become so dense that the viewer hardly knew where to look first. But the absence of hierarchy has its advantages. As a viewer, I’m grateful for a work of art that does not tell me what to do, whether it’s in the seemingly random collection of objects arranged on the artist’s studio floor in a watercolor called \u003cb>Song of the Torturer\u003c/b> (1989), or the more recent grid of grinning, frowning and just-plain foolish moons in \u003cb>Meridian Moons Overwhatarewe\u003c/b> (2006). I can start where I want, leave for a few minutes or a couple of years, and then dive back in again wherever it feels right. Sounds very Northern Californian, I know, but as a viewer, I’ll take that sort of freedom any day over works of art, even abstract ones, with fussy beginnings, middles, and ends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-meridian-moons.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Meridian Moons Overwhatarewe (2006)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Such wooly-headed thinking on my part may be why I have never completely warmed to the paintings from the 1990s, in which the artist appropriated details from Bosch, Bruegel and even Manet to give voice to issues ranging from the nuclear meltdown at Chernobyl to the loss of wild salmon stocks in the Pacific Ocean. As examples of what can be done with acrylic, charcoal and graphite on canvas, the paintings are extraordinary, and the ones on view at SAAM are the best of the best. But these pieces leave little room for interpretation once you learn what they are supposed to be about. As I say, I’m spoiled.\u003c/p>\n\u003cp>Meanwhile, a couple of subway stops away, at the Marsha Mateyka Gallery, the artist grappled with ancient insults and revenge in the Middle East; the foreclosure of modest family homesteads; mountaintop coal mining; the perils of political geography; and torture.\u003c/p>\n\u003cp>This last topic was covered in a political-cartoon-of-a-watercolor called \u003cb>Enhanced Techniques of Interrogation\u003c/b> (2009). In it, a bulky canvas has been bound and strung up, pierced in places by spikes. An electric pincher sits on the floor, as does a bucket of water with a board in it (get it?). Blood is dripping from the canvas onto the floor and a clipboard leans against the stucco cell wall, as if to document and detail the violent indignities that have been heaped upon the contents of this blank canvas before the victim inside finally spilled the beans. Unless, of course, there’s nothing inside the canvas but canvas, in which case the painting is also about the struggles an artist occasionally encounters when trying to wring inspiration from his chosen medium. Once again a course has been charted, the personal collides with the political, and still we cannot look away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b> runs through January 24, 2010 at the Smithsonian American Art Museum. For \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2009/wiley/\">more information\u003c/a> visit americanart.si.edu.\u003c/p>\n\n",
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"excerpt": "A few weeks ago, our nation's capital tilted noticeably to the left when friends, associates and supporters of the Bay Area's William T. Wiley stormed Washington, D.C. for the opening of \u003cb>What's It All Mean: William T. Wiley in Retrospect\u003c/b>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, our nation’s capital tilted noticeably to the left when friends, associates and supporters of the Bay Area’s William T. Wiley stormed Washington, D.C. for the opening of \u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b>, now through January 24, 2010 at the Smithsonian American Art Museum. A concurrent exhibition of new watercolors and constructions at the Marsha Mateyka Gallery near Dupont Circle meant that fans of Wiley’s art had only to hop the Red Line to catch two stellar exhibitions of this important artist’s work.\u003c/p>\n\u003cp>On hand for the festivities were about 30 or so members of the Oakland Museum of California’s Art Guild, who were treated to a private tour of the SAAM show by Wiley and his high-school art teacher, James McGrath, who was in town for the occasion. Representing the Berkeley Art Museum & Pacific Film Archive, which \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/wiley_2010\">hosts the show\u003c/a> from March 17 to July 18, 2010, was that institution’s chief curator and director of programs and collections, Lucinda Barnes. Even Wiley’s congresswoman, Lynn Woolsey, was in the audience for the artist’s talk and musical performance the night before the show’s opening. It’s not every artist, noted SAAM’s director, Elizabeth Broun, who travels with his own congresswoman.\u003c/p>\n\u003cp>But then, Wiley is not every artist and never has been. He has always charted his own course, and his artwork has often been the means to make sense of his life’s journey between both physical spaces (growing up in Bedford, Indiana; attending high school in Richland, Washington; raising a family in west Marin) and metaphysical ones (the teachings of various Zen masters).\u003c/p>\n\u003cp>The 88-piece exhibition began in a room off the main galleries with a selection of early works that suggested the influences of artists from Giorgio di Chirico to Bruce Connor to Marcel Duchamp to H.C. Westermann. If you know Wiley’s work, the room was like a cocktail party with old friends: There’s \u003cb>Mona Lisa Wipe Out\u003c/b> from 1967; oh look, it’s \u003cb>Ship’s Log\u003c/b> (1969) from SFMOMA’s collection; and hasn’t \u003cb>Wizdumb Bridge\u003c/b> (1969) aged well?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-mona-lisa.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Mona Lisa Wipe Out (1967)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Those who were not familiar with the artist’s early work probably had to fight the urge to scoot through this satellite gallery to get to the main event, and who could blame them? What awaited was a trove of Wiley’s most enduring pieces, including watercolors like \u003cb>Lame and Blind in Eden\u003c/b> (1969) and \u003cb>Reading the Stains\u003c/b> (1971), as well as paintings such as \u003cb>Random Remarks and Digs\u003c/b> (1971) and \u003cb>Studio Space\u003c/b> (1975). This was the Wiley many visitors were probably most familiar with. Soon we were deep in a world of map-like landscapes ringed with tattered edges; of seemingly endless layers of mottled surfaces percolating through watercolor wash; of the same effect rendered even more dizzyingly in monotone via charcoal and graphite; of storytelling and musings about current events documented directly onto the artworks; and of the cohabitation of disparate imagery that is at once formal and playful, serious and careless, respectful and irreverent. I could look at this work forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-studio-space.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Studio Space (1975)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Which, of course, is a rather long time to expect an artist to make the same piece, over and over and over. Happily, Wiley moved on, and so did the exhibition, shifting effortlessly between the light touch of a painting-watercolor combo like \u003cb>Nothing Seems Clear\u003c/b> (1978), and the meticulously deliberate messiness of \u003cb>Acid Rain\u003c/b> (1981). As one moved deeper into the exhibition, jarring lightning bolts and fissures of abstract paint began to pierce the work, as if to pick up where the show’s earliest piece, \u003cb>Flag Song\u003c/b> (1959) left off.\u003c/p>\n\u003cp>By the mid-1980s, Wiley’s watercolors, once lyrical and trippy, had become so dense that the viewer hardly knew where to look first. But the absence of hierarchy has its advantages. As a viewer, I’m grateful for a work of art that does not tell me what to do, whether it’s in the seemingly random collection of objects arranged on the artist’s studio floor in a watercolor called \u003cb>Song of the Torturer\u003c/b> (1989), or the more recent grid of grinning, frowning and just-plain foolish moons in \u003cb>Meridian Moons Overwhatarewe\u003c/b> (2006). I can start where I want, leave for a few minutes or a couple of years, and then dive back in again wherever it feels right. Sounds very Northern Californian, I know, but as a viewer, I’ll take that sort of freedom any day over works of art, even abstract ones, with fussy beginnings, middles, and ends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-meridian-moons.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Meridian Moons Overwhatarewe (2006)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Such wooly-headed thinking on my part may be why I have never completely warmed to the paintings from the 1990s, in which the artist appropriated details from Bosch, Bruegel and even Manet to give voice to issues ranging from the nuclear meltdown at Chernobyl to the loss of wild salmon stocks in the Pacific Ocean. As examples of what can be done with acrylic, charcoal and graphite on canvas, the paintings are extraordinary, and the ones on view at SAAM are the best of the best. But these pieces leave little room for interpretation once you learn what they are supposed to be about. As I say, I’m spoiled.\u003c/p>\n\u003cp>Meanwhile, a couple of subway stops away, at the Marsha Mateyka Gallery, the artist grappled with ancient insults and revenge in the Middle East; the foreclosure of modest family homesteads; mountaintop coal mining; the perils of political geography; and torture.\u003c/p>\n\u003cp>This last topic was covered in a political-cartoon-of-a-watercolor called \u003cb>Enhanced Techniques of Interrogation\u003c/b> (2009). In it, a bulky canvas has been bound and strung up, pierced in places by spikes. An electric pincher sits on the floor, as does a bucket of water with a board in it (get it?). Blood is dripping from the canvas onto the floor and a clipboard leans against the stucco cell wall, as if to document and detail the violent indignities that have been heaped upon the contents of this blank canvas before the victim inside finally spilled the beans. Unless, of course, there’s nothing inside the canvas but canvas, in which case the painting is also about the struggles an artist occasionally encounters when trying to wring inspiration from his chosen medium. Once again a course has been charted, the personal collides with the political, and still we cannot look away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Call me Ishmael. Just kidding. I’ve never read \u003cb>Moby Dick\u003c/b>, a book so mythologized in American letters that high schools don’t even bother requiring students to read it. Too long? Too hard? Maybe it was just the high school I went to? Or maybe it’s enough just to know the basics: Ahab, the obsessive quest for revenge, Moby-Dick himself. But California College of the Arts’ \u003ca href=\"http://www.wattis.org/\">Wattis Institute\u003c/a> has gone ahead and leapt into the book for the \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">second\u003c/a> in a three-part series based on American novels (the \u003ca href=\"http://www.wattis.org/exhibitions/oz\">show based on \u003cb>The Wizard of Oz\u003c/b>\u003c/a> appeared last year; \u003cb>Huckleberry Finn\u003c/b> will go up in 2010).\u003c/p>\n\u003cp>Like the book — and the quest, and the whale — the Wattis show is ambitious in scale: it takes up both of their galleries at CCA, and includes pieces commissioned for this show and older work: a Buster Keaton film and another by Kenneth Anger, Marcel Dzama drawings, and prints depicting a Richard Serra sculpture give a sense of the breadth. Rockwell Kent’s vivid illustrations for a 1930 edition of the novel provide the exhibition’s structure. 19th century whaling artifacts pepper the show. And overhead, TVs in each gallery play Orson Welles reciting excerpts from the play he based on the book.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dzama.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Marcel Dzama\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The show is best taken in from a distance. If you look across the room in the downstairs gallery Angela Bulloch’s \u003cb>Night Sky\u003c/b> shines in the middle while Hiroshi Sugimoto’s black and white seascapes look dramatic against the deep blue walls on the other side and Orson Welles thunders away about fate.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bulloch.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Angela Bulloch\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Upstairs a recording of whale songs playing in one corner provides an aural break from Welles’s \u003cb>Moby Dick\u003c/b> recitations. Mateo López accompanies the recording with a drawing of sheet music that morphs into waves with whale tails flipping up out of the staff. But the most striking (and largest) piece is Adrián Villar Rojas and Alan Legal’s burlap, chicken wire and clay white whale that’s sprawled across the floor, dominating the room. It’s an up-close encounter with Moby Dick. And then the show comes to an end with the last period in the book, cut and pasted by Kris Martin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moby-sugimoto.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Hiroshi Sugimoto\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Not everything in the show is so striking. The quieter and smaller pieces are overwhelmed by the bombast of waves, whales, and dark walls, and some, while lovely, seem to have only a tenuous relationship with the book. But there’s no need for pedantry here, especially since I haven’t read the thing. And frankly, this collection of paintings, films, and artifacts made me want to try the book more than any Great Books list ever has. Meditations on the meaning of whiteness, obscure details of 19th century whaling, and vague homoeroticism, here I come!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moby Dick\u003c/b> runs through December 12, 2009 at CCA Wattis Institute in San Francisco. For \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">information\u003c/a>, visit wattis.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call me Ishmael. Just kidding. I’ve never read \u003cb>Moby Dick\u003c/b>, a book so mythologized in American letters that high schools don’t even bother requiring students to read it. Too long? Too hard? Maybe it was just the high school I went to? Or maybe it’s enough just to know the basics: Ahab, the obsessive quest for revenge, Moby-Dick himself. But California College of the Arts’ \u003ca href=\"http://www.wattis.org/\">Wattis Institute\u003c/a> has gone ahead and leapt into the book for the \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">second\u003c/a> in a three-part series based on American novels (the \u003ca href=\"http://www.wattis.org/exhibitions/oz\">show based on \u003cb>The Wizard of Oz\u003c/b>\u003c/a> appeared last year; \u003cb>Huckleberry Finn\u003c/b> will go up in 2010).\u003c/p>\n\u003cp>Like the book — and the quest, and the whale — the Wattis show is ambitious in scale: it takes up both of their galleries at CCA, and includes pieces commissioned for this show and older work: a Buster Keaton film and another by Kenneth Anger, Marcel Dzama drawings, and prints depicting a Richard Serra sculpture give a sense of the breadth. Rockwell Kent’s vivid illustrations for a 1930 edition of the novel provide the exhibition’s structure. 19th century whaling artifacts pepper the show. And overhead, TVs in each gallery play Orson Welles reciting excerpts from the play he based on the book.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dzama.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Marcel Dzama\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The show is best taken in from a distance. If you look across the room in the downstairs gallery Angela Bulloch’s \u003cb>Night Sky\u003c/b> shines in the middle while Hiroshi Sugimoto’s black and white seascapes look dramatic against the deep blue walls on the other side and Orson Welles thunders away about fate.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bulloch.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Angela Bulloch\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Upstairs a recording of whale songs playing in one corner provides an aural break from Welles’s \u003cb>Moby Dick\u003c/b> recitations. Mateo López accompanies the recording with a drawing of sheet music that morphs into waves with whale tails flipping up out of the staff. But the most striking (and largest) piece is Adrián Villar Rojas and Alan Legal’s burlap, chicken wire and clay white whale that’s sprawled across the floor, dominating the room. It’s an up-close encounter with Moby Dick. And then the show comes to an end with the last period in the book, cut and pasted by Kris Martin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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