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"content": "\u003cp>Suzanne Husky planted herself in San Francisco after spending much of her life in Bordeaux, France. She is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made \u003ca href=\"http://www.themarmaladeproject.blogspot.com/\">marmalade\u003c/a> for the masses. Recently, she even created a musical project that helped set our troubled environment back on course. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I invaded her Dog Patch studio to find out what’s next for this artist who is doing her part to make things right with the world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-husky.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the different mediums you work with.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d say there are three major ones. One is sculpture with textiles, which I’ve done a lot of, and I always go back to. And then I have a documentary practice that I’m leaning more and more towards. I’ve documented a lot of environmental activists, first in the East Bay and then in France — people who sculpt their houses out of recycled materials. I use recycled materials to sculpt, and they sculpt their homes out of recycled material. So for me, they are continuous things that feed one another. Also because I spend a lot of time in the studio, I need a lot of outdoor time, or I go nuts. It’s a balance. And then sometimes I do actions.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-8.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>When you say “actions,” do you mean performance?\u003c/i>\u003c/p>\n\u003cp>“I prefer calling it “actions.” Right now I’m working on a few things — I’m trying to have choirs sing in the forest. I did it recently during a residency where we worked with scientists specializing in global warming in the Pyrenees Mountains. One of the facts that the scientists were telling us is that the leaves stay on the trees longer because of global warming. The summers are extended, so the leaves just stay. But by staying, they also contribute to global warming because they’re holding the heat underneath the forest; it’s a vicious circle. So I asked a choir to sing winter songs to the forest, just to give it ideas of losing the leaves. I really enjoyed working that way because it’s like blowing in the wind, or just doing something really stupid. But at the same time, the choir was super motivated to do it, which was weird because asking a random choir to just go in the forest and sing is kind of bizarre. But they were really excited, and it froze the next morning. It’s funny to entertain the idea that there’s potentially a communication with plants and nature like that.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=mgnCR6QZkM4&hl=en_US&fs=1&rel=0&color1=0x234900&color2=0x4e9e00]\u003c/p>\n\u003cp>\u003ci>Does all of your work address environmental issues?\u003c/i>\u003c/p>\n\u003cp>“In a broader way — those people who decide to live off the grid and sculpt their houses with recycled material — what I want to highlight is the philosophical choice of living with almost nothing, and being happy with almost nothing. It’s the aesthetic of simplicity and poverty that I like to highlight as well. So that’s probably more the social aspect of globalization, or one of the choices of how to respond to globalization, more generally than just environmental crisis.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-5.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I love to spend time with those people. After I studied art, I studied horticulture in order to put my actions where my words were. They’re not people who talk about making change, they just do it. And most often they do it in very solitary ways. I do make the parallel between an artist’s isolation, and living out that philosophy in a solitary way. It is socially alienating, but ethically right.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-6.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the fabric people you made with the photo faces — are those people you know?\u003c/i>\u003c/p>\n\u003cp>“Yes, I started with friends and artists’ friends. I made a lot of them. I did a whole installation with them called, \u003cb>You Make Me Make You\u003c/b>. In a lot of ways I think sculpture is like drawing and for me, there’s not really a bridge. For example the drawing that’s at the SF Arts Commission Gallery right now is something that’s going to happen in 3D soon.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-11.jpg\">\u003ci>Selection from \u003cb>You Make Me Make You\u003c/b> exhibit\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Will you build that scene similarly to the way you make the recycled fabric trees, but with little structures hiding among them like in the \u003cb>Sleeper Cell Hotel\u003c/b> drawing?\u003c/i>\u003c/p>\n\u003cp>“No, it would be human size. Ideally it would actually be a hotel.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-4.jpg\">\u003ci>\u003cb>Sleeper Cell Hotel\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Suzanne Husky’s work at the San Francisco Arts Commission Gallery’s \u003ca href=\"http://www.sfartscommission.org/gallery/2010/chain-reaction-11/\">Chain Reaction 11 exhibition\u003c/a> through May 16, 2010 and at Intersection for the Arts’ \u003cb>Spare Some Change\u003c/b> group show opening April 21, 2010. She will also be an \u003ca href=\"http://www.sfrecycling.com/AIR/husky.htm\">artist-in-residence at the San Francisco Recycling and Disposal Center\u003c/a> from October 2010-January 2011.\u003c/p>\n\n",
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"description": "Suzanne Husky is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made marmalade for the masses. Emmanuel and I invaded her Dog Patch studio to find out what's next for this artist who is doing her part to make things right with the world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Suzanne Husky planted herself in San Francisco after spending much of her life in Bordeaux, France. She is known for her delightful recycled fabric trees, but she has also documented people living off the grid, and made \u003ca href=\"http://www.themarmaladeproject.blogspot.com/\">marmalade\u003c/a> for the masses. Recently, she even created a musical project that helped set our troubled environment back on course. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I invaded her Dog Patch studio to find out what’s next for this artist who is doing her part to make things right with the world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-husky.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the different mediums you work with.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d say there are three major ones. One is sculpture with textiles, which I’ve done a lot of, and I always go back to. And then I have a documentary practice that I’m leaning more and more towards. I’ve documented a lot of environmental activists, first in the East Bay and then in France — people who sculpt their houses out of recycled materials. I use recycled materials to sculpt, and they sculpt their homes out of recycled material. So for me, they are continuous things that feed one another. Also because I spend a lot of time in the studio, I need a lot of outdoor time, or I go nuts. It’s a balance. And then sometimes I do actions.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-8.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>When you say “actions,” do you mean performance?\u003c/i>\u003c/p>\n\u003cp>“I prefer calling it “actions.” Right now I’m working on a few things — I’m trying to have choirs sing in the forest. I did it recently during a residency where we worked with scientists specializing in global warming in the Pyrenees Mountains. One of the facts that the scientists were telling us is that the leaves stay on the trees longer because of global warming. The summers are extended, so the leaves just stay. But by staying, they also contribute to global warming because they’re holding the heat underneath the forest; it’s a vicious circle. So I asked a choir to sing winter songs to the forest, just to give it ideas of losing the leaves. I really enjoyed working that way because it’s like blowing in the wind, or just doing something really stupid. But at the same time, the choir was super motivated to do it, which was weird because asking a random choir to just go in the forest and sing is kind of bizarre. But they were really excited, and it froze the next morning. It’s funny to entertain the idea that there’s potentially a communication with plants and nature like that.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mgnCR6QZkM4'\n title='//www.youtube.com/embed/mgnCR6QZkM4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Does all of your work address environmental issues?\u003c/i>\u003c/p>\n\u003cp>“In a broader way — those people who decide to live off the grid and sculpt their houses with recycled material — what I want to highlight is the philosophical choice of living with almost nothing, and being happy with almost nothing. It’s the aesthetic of simplicity and poverty that I like to highlight as well. So that’s probably more the social aspect of globalization, or one of the choices of how to respond to globalization, more generally than just environmental crisis.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-5.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I love to spend time with those people. After I studied art, I studied horticulture in order to put my actions where my words were. They’re not people who talk about making change, they just do it. And most often they do it in very solitary ways. I do make the parallel between an artist’s isolation, and living out that philosophy in a solitary way. It is socially alienating, but ethically right.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-6.jpg\">\u003ci>Selection from \u003cb>Modernes Vies Sauvages\u003c/b> series\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about the fabric people you made with the photo faces — are those people you know?\u003c/i>\u003c/p>\n\u003cp>“Yes, I started with friends and artists’ friends. I made a lot of them. I did a whole installation with them called, \u003cb>You Make Me Make You\u003c/b>. In a lot of ways I think sculpture is like drawing and for me, there’s not really a bridge. For example the drawing that’s at the SF Arts Commission Gallery right now is something that’s going to happen in 3D soon.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-11.jpg\">\u003ci>Selection from \u003cb>You Make Me Make You\u003c/b> exhibit\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Will you build that scene similarly to the way you make the recycled fabric trees, but with little structures hiding among them like in the \u003cb>Sleeper Cell Hotel\u003c/b> drawing?\u003c/i>\u003c/p>\n\u003cp>“No, it would be human size. Ideally it would actually be a hotel.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/suzanne-4.jpg\">\u003ci>\u003cb>Sleeper Cell Hotel\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Suzanne Husky’s work at the San Francisco Arts Commission Gallery’s \u003ca href=\"http://www.sfartscommission.org/gallery/2010/chain-reaction-11/\">Chain Reaction 11 exhibition\u003c/a> through May 16, 2010 and at Intersection for the Arts’ \u003cb>Spare Some Change\u003c/b> group show opening April 21, 2010. She will also be an \u003ca href=\"http://www.sfrecycling.com/AIR/husky.htm\">artist-in-residence at the San Francisco Recycling and Disposal Center\u003c/a> from October 2010-January 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve spent any time in San Francisco, chances are you’ve run into one of Sirron Norris’s paintings of bears, bunnies, or Victorian buildings. They give life to roll-up doors, and the interior and exterior walls of local restaurants and stores. His colorful city scenes and cartoony characters are loved by all ages and, in order to eliminate the layers between artist and audience, he recently opened a storefront studio/gallery to showcase his work. It’s located in The Mission near Balmy Alley, the famous corridor covered in murals by local artists, including Norris.\u003c/p>\n\u003cp>Norris’s new space is bright and inviting. Visitors can sit on a big orange couch and play a video game the artist designed where you can digitally explore his signature urban landscapes. A pink bubbly mural crawls over the wall where paintings and other items are on display. A little neighborhood is set up along a shelf; its small, sculptural buildings are painted on a set of children’s toy blocks. A true upcycler, Norris has also painted the iconic San Francisco-style houses on wood scraps from actual Victorians that have been torn down.\u003c/p>\n\u003cp>The gallery sells t-shirts featuring Norris’s artwork displayed on hangers with his characters’ faces on them. There are Sirron Norris light switch plates, toilet brushes, framed posters, and tiny souvenirs everywhere — if you’re a fan of his work, you’ll find yourself in handmade gift shop heaven, even if you’ve got less than $10 in your pocket. And being able to check out the artist’s studio right next to the gallery and see his works in progress and his inspirational toy collection is an added bonus.\u003c/p>\n\u003cp>Norris, his wife, and his interns worked tirelessly to create the new venue, and his larger goal is to turn it into a non-profit organization that helps kids learn innovative, sustainable ways to create art. He is already taking sign-ups for cartooning classes at his studio, and is thinking about ways to expand. He says cartooning is a gateway to creativity, and that freedom of expression is necessary for healthy well-being. Sounds like a great start on a mission statement right there.\u003c/p>\n\u003cp>Norris was featured in a 2009 \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24606\">Spark/Newshour segment\u003c/a> about artists and the economy, saying his business as a painter was slowing down and that he couldn’t afford to make murals anymore. This fresh start on the up-and-coming South end of Valencia Street seems to prove that things are looking up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sirron Norris Studio/Gallery is open Thursday through Sunday, 11:30 ? 7:00pm with extended hours in the summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve spent any time in San Francisco, chances are you’ve run into one of Sirron Norris’s paintings of bears, bunnies, or Victorian buildings. They give life to roll-up doors, and the interior and exterior walls of local restaurants and stores. His colorful city scenes and cartoony characters are loved by all ages and, in order to eliminate the layers between artist and audience, he recently opened a storefront studio/gallery to showcase his work. It’s located in The Mission near Balmy Alley, the famous corridor covered in murals by local artists, including Norris.\u003c/p>\n\u003cp>Norris’s new space is bright and inviting. Visitors can sit on a big orange couch and play a video game the artist designed where you can digitally explore his signature urban landscapes. A pink bubbly mural crawls over the wall where paintings and other items are on display. A little neighborhood is set up along a shelf; its small, sculptural buildings are painted on a set of children’s toy blocks. A true upcycler, Norris has also painted the iconic San Francisco-style houses on wood scraps from actual Victorians that have been torn down.\u003c/p>\n\u003cp>The gallery sells t-shirts featuring Norris’s artwork displayed on hangers with his characters’ faces on them. There are Sirron Norris light switch plates, toilet brushes, framed posters, and tiny souvenirs everywhere — if you’re a fan of his work, you’ll find yourself in handmade gift shop heaven, even if you’ve got less than $10 in your pocket. And being able to check out the artist’s studio right next to the gallery and see his works in progress and his inspirational toy collection is an added bonus.\u003c/p>\n\u003cp>Norris, his wife, and his interns worked tirelessly to create the new venue, and his larger goal is to turn it into a non-profit organization that helps kids learn innovative, sustainable ways to create art. He is already taking sign-ups for cartooning classes at his studio, and is thinking about ways to expand. He says cartooning is a gateway to creativity, and that freedom of expression is necessary for healthy well-being. Sounds like a great start on a mission statement right there.\u003c/p>\n\u003cp>Norris was featured in a 2009 \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24606\">Spark/Newshour segment\u003c/a> about artists and the economy, saying his business as a painter was slowing down and that he couldn’t afford to make murals anymore. This fresh start on the up-and-coming South end of Valencia Street seems to prove that things are looking up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp> \u003c/p>\n\u003cp>Talk of a half-hour wait circulated through the line extending down the block. The rumor was true. Opening nights for Fifty24SF are almost always densely packed with art-goers. The crowd usually ranges from early twenties to late thirties. They spill from the small gallery onto the sidewalk and collect in tiny groups to smoke and chat. However, the extensive line for the opening of David Choe’s \u003cb>Character Assassination\u003c/b> exhibit is not usual for the Lower Haight gallery. A few hipster girls, lucky enough to make it inside, were pointing and yaysaying their decided favorites. The intimacy of the gallery allows Choe to create a salon style atmosphere. On the left wall works span from ceiling to floor. If there weren’t so many people, the largest piece would be the first thing a viewer sees when walking through the door. On the right wall, two larger works are flanked by smaller pieces. Works are hung in an almost haphazard manner. Haphazardness being a trait Choe is known for.\u003c/p>\n\u003cp>Misadventures have been plentiful in the life of this thirty-four-year-old Korean-American artist. Choe grew up in Los Angeles and travels extensively. He was once lost in the Congo for two weeks at the age of nineteen. Years later, he landed himself a three-month stint in a Japanese prison, after a tussle with an undercover officer. The chaos and energy evident in Choe’s exploits find their way into his work, which adorn the offices of Facebook and, oh yes, the White House.\u003c/p>\n\u003cp>Quick and dirty, that’s how Choe works. Spray paint, oil, watercolor, pencil, anything he can get his hands on is applied with a furious energy. He works loose and finishes by tightening up the figures exploding with color. Seductive women are his primary focus. Robots take a close second. His mostly textural approach counters the minute cartooned faces and cityscapes casually rendered and penciled in around the edges. In one large painting entitled “Ignored Prayers,” which takes up most of the small gallery’s back wall and is an amalgam of oil, acrylic, wax crayons and spray paint on canvas, cars, buildings and rottweilers sit within scrambled hair atop the placid face of a beautiful woman.\u003c/p>\n\u003cp>The gallery walls are painted black with characters scrolled in white graffiti. This is distracting because the walls conflict with artwork hanging on them. Even though Choe is known for chaos, it’s overkill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choe’s tribute to Jimi Hendrix captures the musician’s essence with head swung back and colors ablaze in the form of a giclee print. The ecstatic look on Hendrix’s face feels as if, at that moment, no one could break his groove. Reminiscent of religious iconography, Hendrix is disappearing within himself and entering into a new dimension of being, or ecstasy. Choe, like Hendrix, has a raw and uninhibited passion for his art.\u003c/p>\n\u003cp>On the other hand, a few of the smaller works of unidentifiable persons possess a harsher emotional quality. Fiery reds and dark black-brown tones balance increasingly gestural and undefined faces.\u003c/p>\n\u003cp>The work in \u003cb>Character Assassination\u003c/b> creates tension through the combination of intricate detail and bold, furious activity of spray paint, color, and pictorial puns hidden within the guise of sexually driven works.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Character Assassination\u003c/b> is on view through March 24, 2010 at Fifty24SF in San Francisco. For more about Choe, check out \u003ca href=\"http://www.dirtyhandsmovie.com/\">Dirty Hands: The Art and Crimes of David Choe\u003c/a> is a well-received documentary shot over seven years by Choe’s close friend, filmmaker Harry Kim. Look for the trailer at www.dirtyhandsmovie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Talk of a half-hour wait circulated through the line extending down the block. The rumor was true. Opening nights for Fifty24SF are almost always densely packed with art-goers. The crowd usually ranges from early twenties to late thirties. They spill from the small gallery onto the sidewalk and collect in tiny groups to smoke and chat. However, the extensive line for the opening of David Choe’s \u003cb>Character Assassination\u003c/b> exhibit is not usual for the Lower Haight gallery. A few hipster girls, lucky enough to make it inside, were pointing and yaysaying their decided favorites. The intimacy of the gallery allows Choe to create a salon style atmosphere. On the left wall works span from ceiling to floor. If there weren’t so many people, the largest piece would be the first thing a viewer sees when walking through the door. On the right wall, two larger works are flanked by smaller pieces. Works are hung in an almost haphazard manner. Haphazardness being a trait Choe is known for.\u003c/p>\n\u003cp>Misadventures have been plentiful in the life of this thirty-four-year-old Korean-American artist. Choe grew up in Los Angeles and travels extensively. He was once lost in the Congo for two weeks at the age of nineteen. Years later, he landed himself a three-month stint in a Japanese prison, after a tussle with an undercover officer. The chaos and energy evident in Choe’s exploits find their way into his work, which adorn the offices of Facebook and, oh yes, the White House.\u003c/p>\n\u003cp>Quick and dirty, that’s how Choe works. Spray paint, oil, watercolor, pencil, anything he can get his hands on is applied with a furious energy. He works loose and finishes by tightening up the figures exploding with color. Seductive women are his primary focus. Robots take a close second. His mostly textural approach counters the minute cartooned faces and cityscapes casually rendered and penciled in around the edges. In one large painting entitled “Ignored Prayers,” which takes up most of the small gallery’s back wall and is an amalgam of oil, acrylic, wax crayons and spray paint on canvas, cars, buildings and rottweilers sit within scrambled hair atop the placid face of a beautiful woman.\u003c/p>\n\u003cp>The gallery walls are painted black with characters scrolled in white graffiti. This is distracting because the walls conflict with artwork hanging on them. Even though Choe is known for chaos, it’s overkill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A list is many things, including a way of insuring memory, a method of organizing, and a literary device. The intent is just as often to allude to the copious quantity of unlisted material as it is to delimit and itemize. What I hadn’t considered before visiting \u003cb>Between the Lines\u003c/b>, Annie Vought’s installation at the California Institute of Integral Studies’ (CIIS) Minna Street Center, was how a list could function as sculpture.\u003c/p>\n\u003cp>Vought’s technique is to work with her own handwritten lists, enlarging and cutting each word out of colored paper. She then pins the words to the wall, leaving an inch or so of space as a buffer. Add the right lighting conditions, and all of the pinned words cast shadows. From a distance it can be a bit of a blur, but ultimately the effect works: without it, we might spend too much time treating the installation like a poem — i.e., attempting to read it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-off-the-wall.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>It’s hard not to read words, of course, and there’s a lot of humor in what they say: “better version wanted” and “I draw my eyes now” are two of my favorites. But as a whole, the draw of Vought’s work is the way it turns our awareness to the materiality of thoughts in space. For me, any moments of legibility were more poignant when there was an interaction between the words and the “real” conditions of the room, like a ray of sunlight creeping across the wall.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-betterversionwanted.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/av-ghost.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>This might be because I can’t shake the thought that lists are as much about time as they are about space — compulsive list makers attempt to sculpt the shape of their days using time as their main material. As much as I enjoyed watching CIIS students and staff walk in and out of office doors surrounded by stacks of handcut words as tall as the walls, I’d also love to see Vought address some of these other conceptual issues, because her work is already starting to do it for her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Between the Lines\u003c/b> is showing at CIIS’s Minna Street Center through March 21, 2010. For \u003ca href=\"http://www.ciis.edu/arts/\">more information\u003c/a> visit ciis.edu.\u003c/p>\n\n",
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"content": "\u003cp>Ryan De La Hoz has a thing for bones, skulls, and the Grim Reaper so it seems perfect that his last name literally means “of the sickle.” Last week, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I braved a particularly rainy commute to check out his new digs (he recently moved his studio from the Mission to a larger space in Fairfield). We chatted about some of his childhood influences, the band he thinks best defines his aesthetic, and the ancestors he never knew about.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz1.jpg\">\u003ci>Ryan in his new habitat\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about your art and the idea of “Residual Energy.”\u003c/i>\u003c/p>\n\u003cp>“One of the major underlying themes in my art is how fragile everything is, especially life. I’ve been dealing with this idea of landscapes that are void of any people or figures. I feel like there are a lot of things on the earth — beautiful things — that people forget about in their daily lives. A lot of this art is supposed to be like the most beautiful thing you can imagine — like the crystals or geodes in this case — and it’s sort of covered up, like no one wants to see it anymore. The skeleton gloves represent artifacts of existence. They’re like bones, but they’re not. And the ladders represent abandoned progress.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz11.jpg\">\u003cbr>\u003ci>Residual Energies series\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz3.jpg\">\u003c/p>\n\u003cp>“I’m still into everything I liked as a kid. I love Swamp Thing, and The Ninja Turtles, and ooze and stuff like that. I love slime, it’s really that simple. I love Ghostbusters, and ectoplasm, and Slimer. It’s me thinking about how I feel about the environment now, and mixing it with what I liked as a kid. All of these landscapes have the same theme, and I call them Residual Energies.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz6.jpg\">\u003c/p>\n\u003cp>\u003ci>So what’s covering up the beautiful crystals is mounds of slime?\u003c/i>\u003c/p>\n\u003cp>“It could be pollution, it could be anything. I don’t want to sound preachy, talking about the environment; I just want my art to be thought-provoking.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-2.jpg\">\u003c/p>\n\u003cp>\u003ci>What about your teepee pieces, the little encampments?\u003c/i>\u003c/p>\n\u003cp>“I recently found out that I’m 25% Yaqui Indian. I started researching Yaqui Indians, they were on the border of Arizona, and the pictures of them look like my family. I started reading all their folklore at the beginning of last year, so those pieces came from me finding out more about myself. It’s weird to think you have something in you that you didn’t know about, and I like putting myself into my art. I’m really into folklore in general, but the Yaqui Indian folklore that I researched is so interesting. They had some good beliefs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz14.jpg\">\u003c/p>\n\u003cp>\u003ci>What music would best represent your art?\u003c/i>\u003c/p>\n\u003cp>“I really like this band called Battles. Their first album is called Mirrored and there’s a song on that album called Rainbow. I think that could totally represent my stuff.”\u003c/p>\n\u003cp>Check out Ryan’s art, including an installation, and pick up his brand new, full-color zine at \u003ca href=\"http://galleryheist.com\">Heist Gallery\u003c/a> on February 5th, 2010. With 2010 shows lined up in San Francisco, Portland, and New York and a killer zine on the loose, we have a feeling you’ll be hearing a lot more about Ryan De La Hoz in the very near future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz5.jpg\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan De La Hoz has a thing for bones, skulls, and the Grim Reaper so it seems perfect that his last name literally means “of the sickle.” Last week, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I braved a particularly rainy commute to check out his new digs (he recently moved his studio from the Mission to a larger space in Fairfield). We chatted about some of his childhood influences, the band he thinks best defines his aesthetic, and the ancestors he never knew about.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz1.jpg\">\u003ci>Ryan in his new habitat\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tell us about your art and the idea of “Residual Energy.”\u003c/i>\u003c/p>\n\u003cp>“One of the major underlying themes in my art is how fragile everything is, especially life. I’ve been dealing with this idea of landscapes that are void of any people or figures. I feel like there are a lot of things on the earth — beautiful things — that people forget about in their daily lives. A lot of this art is supposed to be like the most beautiful thing you can imagine — like the crystals or geodes in this case — and it’s sort of covered up, like no one wants to see it anymore. The skeleton gloves represent artifacts of existence. They’re like bones, but they’re not. And the ladders represent abandoned progress.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz11.jpg\">\u003cbr>\u003ci>Residual Energies series\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz3.jpg\">\u003c/p>\n\u003cp>“I’m still into everything I liked as a kid. I love Swamp Thing, and The Ninja Turtles, and ooze and stuff like that. I love slime, it’s really that simple. I love Ghostbusters, and ectoplasm, and Slimer. It’s me thinking about how I feel about the environment now, and mixing it with what I liked as a kid. All of these landscapes have the same theme, and I call them Residual Energies.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz6.jpg\">\u003c/p>\n\u003cp>\u003ci>So what’s covering up the beautiful crystals is mounds of slime?\u003c/i>\u003c/p>\n\u003cp>“It could be pollution, it could be anything. I don’t want to sound preachy, talking about the environment; I just want my art to be thought-provoking.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz-2.jpg\">\u003c/p>\n\u003cp>\u003ci>What about your teepee pieces, the little encampments?\u003c/i>\u003c/p>\n\u003cp>“I recently found out that I’m 25% Yaqui Indian. I started researching Yaqui Indians, they were on the border of Arizona, and the pictures of them look like my family. I started reading all their folklore at the beginning of last year, so those pieces came from me finding out more about myself. It’s weird to think you have something in you that you didn’t know about, and I like putting myself into my art. I’m really into folklore in general, but the Yaqui Indian folklore that I researched is so interesting. They had some good beliefs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz14.jpg\">\u003c/p>\n\u003cp>\u003ci>What music would best represent your art?\u003c/i>\u003c/p>\n\u003cp>“I really like this band called Battles. Their first album is called Mirrored and there’s a song on that album called Rainbow. I think that could totally represent my stuff.”\u003c/p>\n\u003cp>Check out Ryan’s art, including an installation, and pick up his brand new, full-color zine at \u003ca href=\"http://galleryheist.com\">Heist Gallery\u003c/a> on February 5th, 2010. With 2010 shows lined up in San Francisco, Portland, and New York and a killer zine on the loose, we have a feeling you’ll be hearing a lot more about Ryan De La Hoz in the very near future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/delahoz5.jpg\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even things that you’re not that excited about can start to seem pretty cool if someone speaks really passionately about them. I never minded hearing Lady Gaga on the radio before, but after reading Emmanuel Hapsis’s \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=26700\">article about her\u003c/a>, I’m a true convert — a Lady Gaga lover. If you’re starting with something great, like a work of art (not that Gaga isn’t a work of art), hearing someone talk about it can be moving, memorable, transformative.\u003c/p>\n\u003cp>In honor of its 75th Anniversary this year, SFMOMA has invited 75 people from the Bay Area art world to talk about pieces from the museum’s collection that are meaningful to them, and to share their thoughts with the rest of us. These won’t be slide-accompanied lectures in a dimly-lit hall, but quick shots from the Bay’s best and brightest: 7.5-minute talks, performances, and ramblings taking place in SFMOMA’s galleries every half hour for three days this coming weekend.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collection.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Collection (formerly Untitled)” by Robert Rauschenberg\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>About 20 museum staff members will be participating in the series, called \u003cb>75 Reasons to Live\u003c/b>, and the rest are composers, filmmakers, authors, poets, painters, curators, and people working in all manner of other media. By not limiting the speakers to people working in visual arts, the series’ curators opened the talks up to all types of creative responses. Composer Pamela Z chose Robert Rauschenberg’s “Collection (formerly Untitled),” because she says it was “the first big Robert Rauschenberg I laid my eyes on in the flesh instead of in a book” when she moved to the Bay Area. Her 7.5 minutes, at 5:30 on Saturday, will be part talk, part sound collage; a performance piece in itself.\u003c/p>\n\u003cp>Other speakers include artist Rex Ray talking about Andy Warhol, designer Yves Behar on Barry McGee, and Yerba Buena curator Julio César Morales on Ansel Adams. Carey Perloff, director of the American Conservatory Theater, will talk about a photograph by Robbert Flick, an artist who she says she’s known for many years; and author Beth Lissick is also planning on talking about work by an artist she knows, Chris Johanson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s relatively small size can feel claustrophobic sometimes, like a subway platform full of people you hadn’t hoped to run into (or a packed museum gallery, for that matter), but events like this, that can draw people in from around the region and across genre lines, are possible because of the city’s small size and tangled personal and professional connections. The museum will be crowded, but free — there’s no admission charge for these three days — and full of Bay Area people talking passionately about art and ideas.\u003c/p>\n\u003cp>It all adds up to a lot of artists and a lot of minutes, and it’s actually impossible to see all the speakers, as they’ll be going at it two at a time. But the museum will be recording all the talks, and posting them online later this year; they should make excellent fodder for 7.5-minute eye-opening dawdling sessions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>75 Reasons to Live\u003c/b> runs from Saturday, January 16 through Monday, January 18, 2010 at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even things that you’re not that excited about can start to seem pretty cool if someone speaks really passionately about them. I never minded hearing Lady Gaga on the radio before, but after reading Emmanuel Hapsis’s \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=26700\">article about her\u003c/a>, I’m a true convert — a Lady Gaga lover. If you’re starting with something great, like a work of art (not that Gaga isn’t a work of art), hearing someone talk about it can be moving, memorable, transformative.\u003c/p>\n\u003cp>In honor of its 75th Anniversary this year, SFMOMA has invited 75 people from the Bay Area art world to talk about pieces from the museum’s collection that are meaningful to them, and to share their thoughts with the rest of us. These won’t be slide-accompanied lectures in a dimly-lit hall, but quick shots from the Bay’s best and brightest: 7.5-minute talks, performances, and ramblings taking place in SFMOMA’s galleries every half hour for three days this coming weekend.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collection.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Collection (formerly Untitled)” by Robert Rauschenberg\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>About 20 museum staff members will be participating in the series, called \u003cb>75 Reasons to Live\u003c/b>, and the rest are composers, filmmakers, authors, poets, painters, curators, and people working in all manner of other media. By not limiting the speakers to people working in visual arts, the series’ curators opened the talks up to all types of creative responses. Composer Pamela Z chose Robert Rauschenberg’s “Collection (formerly Untitled),” because she says it was “the first big Robert Rauschenberg I laid my eyes on in the flesh instead of in a book” when she moved to the Bay Area. Her 7.5 minutes, at 5:30 on Saturday, will be part talk, part sound collage; a performance piece in itself.\u003c/p>\n\u003cp>Other speakers include artist Rex Ray talking about Andy Warhol, designer Yves Behar on Barry McGee, and Yerba Buena curator Julio César Morales on Ansel Adams. Carey Perloff, director of the American Conservatory Theater, will talk about a photograph by Robbert Flick, an artist who she says she’s known for many years; and author Beth Lissick is also planning on talking about work by an artist she knows, Chris Johanson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s relatively small size can feel claustrophobic sometimes, like a subway platform full of people you hadn’t hoped to run into (or a packed museum gallery, for that matter), but events like this, that can draw people in from around the region and across genre lines, are possible because of the city’s small size and tangled personal and professional connections. The museum will be crowded, but free — there’s no admission charge for these three days — and full of Bay Area people talking passionately about art and ideas.\u003c/p>\n\u003cp>It all adds up to a lot of artists and a lot of minutes, and it’s actually impossible to see all the speakers, as they’ll be going at it two at a time. But the museum will be recording all the talks, and posting them online later this year; they should make excellent fodder for 7.5-minute eye-opening dawdling sessions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>75 Reasons to Live\u003c/b> runs from Saturday, January 16 through Monday, January 18, 2010 at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Buddha, Jesus, and The Pope mingle in this month’s exhibition at Creativity Explored. \u003cb>Santos y Otros Creatures\u003c/b> features a balanced mix of prints, paintings, and sculptural works tied together by religious or otherworldly threads. Artist \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=23019\">Victor Cartagena\u003c/a> curated the show. He is also an instructor and heads the printmaking program at the organization, which provides a huge, bright studio and classes for local artists with developmental disabilities.\u003c/p>\n\u003cp>Bertha Otoya likes to copy published writings in hand-written cursive. Lifting texts from famous sources (I noticed the names Freud and Foucault), she carefully copies select phrases, punctuating each word with a period, which adds a sense of reduction or choppiness to the writings. Otoya’s reinterpreted words multiply on a large collection of monoprinted strips of paper hanging vertically in the gallery’s window. A white statue of a one-armed Jesus on a one-armed cross floats amidst the prints; Jesus is also covered in script. It seems no santo is safe from the artist’s pen. Lettered wooden ovals hang beyond the white curtain of prints, rounding out this beautifully obsessive installation. Inside the gallery, Otoya’s rewritings reappear in the background of a diptych print of snakes’ heads, and on a long scroll that stretches across the gallery’s ceiling, unfurling out of a golden box. The scroll is fifteen feet of hand-lettered text borrowed from \u003cb>Mexican Folk Retablos\u003c/b> and other sources.\u003c/p>\n\u003cp>Of the many intriguing prints in the show, Quintin Rodriguez’s \u003cb>Un Santo Con Problemas Fisicas\u003c/b>, grabbed me first. His rendering of a skeleton with shortened limbs printed in black on gold paper seems to illustrate a believable narrative of an imperfect saint who deserves to be immortalized in a gilded frame like this. Rodriguez also takes the prize for funniest Pope portrait in another print.\u003c/p>\n\u003cp>Not to be overshadowed by human creatures, \u003ci>El Cadejo\u003c/i>, the folkloric “dog/devil” makes an appearance in sculptural form. Crafted by Maria Berrios, \u003cb>Cadejo\u003c/b> watches over the gallery’s entrance covered in black yarn with fangs and red eyes. The dog’s body is layered; colorful fabric radiates from underneath his crocheted coat.\u003c/p>\n\u003cp>If I could bring home one santo or otro creature to protect me, it would be Ernesto Sosa’s \u003cb>Magdalena\u003c/b>, a fabric sculpture of a female figure wearing a yellow satin dress, with her limbs carefully wrapped in gold tulle, and perfect, hot pink, glittery shoes tied to her feet. To all you atheists, don’t shy away from this show because of its subjects. As Cartagena explains, “For the saints that are created by the artists at Creativity Explored, there is no need for the benediction of a church or the certification of a religion. No authority is called upon to validate these very personal saints and creatures that our artists carry within their hearts and minds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santos y Otros Creatures\u003c/b> is on view through February 11, 2010 at Creativity Explored, 3245 16th Street, San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You can’t judge an art book by its title. A recently released book that says \u003cb>Painting Today\u003c/b> in big blue letters on its cover actually chronicles artwork made throughout my entire lifetime. In art, and in this book in particular, “Today” can mean the ’70s and “Tomorrow” might refer to 1994. “Contemporary” is an umbrella description underneath which many successful art experiments have taken shape, and many of the resulting, remarkable “paintings” are pictured in \u003cb>Painting Today\u003c/b>, some of which don’t even have any actual paint on them.\u003c/p>\n\u003cp>Researcher Tony Godfrey compiled this heavy collection, which could be considered an excellent coffee table book, a conversational textbook, or an impressive gift for any art lover who deserves to be spoiled (it retails for $75). Weighing in at over ten pounds, the book is overflowing with gorgeous full-page reproductions of paintings sprinkled with Godfrey’s smartly organized commentary. Just scan the text for a corresponding bolded plate number to learn more about the images you like. The book is best enjoyed in calculated doses, which is why it is divided into chapters such as “Ambiguous Abstraction,” “Neo-expressionism,” “Post-Feminism,” and “Painting Tomorrow.” \u003c/p>\n\u003cp>Not surprisingly, Blue chip artists like Damien Hirst, Gerhard Richter, and Anselm Kiefer make repeat appearances in multiple sections. However, the book does a bang-up job of highlighting a diverse range of artists from thirty countries, and a significant portion are women. Several of the artists are from California, have had major exhibitions at Bay Area museums, and/or have work in local public collections.\u003c/p>\n\u003cp>The most exciting part of the book is how the image placement creates a rowdy dialogue between paintings. If this book could talk, it would roar like a raging party in an echoing art museum. For example, seeing Beatriz Milhazes’s and Philip Taaffe’s flowery canvases across from one another, I literally imagined them as ladies in fancy dresses chatting across the pages.\u003c/p>\n\u003cp>Richter’s “\u003ca href=\"http://www.gerhard-richter.com/art/paintings/photo_paintings/detail.php?5996\">Annunciation after Titian\u003c/a>” (1973) shows four panels of his interpretation of Titian’s original “\u003ca href=\"http://en.wikipedia.org/wiki/Annunciation_%28Titian%29\">Annunciation\u003c/a>” — each one blurrier than the one before. These and other Richter paintings such as “Ella” prove his undeniable mastery at rendering soft focus blurriness. An abstract Richter painting is spoken of highly by Godfrey, but it made me want the artist to stick to blurry portraits. I appreciated the in-depth look at artists like Richter and was surprised to see lesser-known paintings by Hirst, including a photorealistic image of a mortuary (his dot paintings seem to get more face time in other books), but I would have liked to see more than one image from artists like Mark Bradford, Marilyn Minter, Yoshitomo Nara, and Katharina Grosse, whose installation of huge weather balloons covered in acrylic paint is breathtaking, even in a photograph. Also noticeably missing is most comic-inspired and so-called “low brow” art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Painting Today\u003c/b> took me to places I could only dream of going, with installation shots of the Haunch of Venison Gallery in London and the notorious 1993 Whitney Biennial. These long shots are an important bonus, emphasizing how placement and location are often central to the point of an artwork, hence the section titled “Painting Space” (which is not to be confused with art about the solar system).\u003c/p>\n\u003cp>I started to think abstract paintings weren’t exciting anymore when I got to the “Pure Abstraction” section, but then Bridget Riley’s graphic Tetris-like color explosion nearly popped off pages 138 and 139, and Estelle Thompson’s vertically striped, eye-crossing oil painting \u003cb>Skimmy\u003c/b> induced motion sickness on the next page. That painting must be even crazier in person, possibly even unbearable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Godfrey reveals trends that the artists themselves might not even recognize. A popular art school lesson asks students to represent one image multiple ways, an activity I thought of many times while looking at Richter’s Titian tribute; Alex Katz’s “Walk,” “Study for Walk,” and “The Light II” pictured consecutively in the “Western Traditions” chapter; Zhang Xiogang’s “Bloodline: Big Family” and “Big Family No. 1” in the “Photographic” section; and Richard Prince’s “Millionaire Nurse” and “Dude Ranch Nurse.” Prince’s painted-over inkjet prints of books on canvas have been \u003ca href=\"http://www.nursingadvocacy.org/media/va/nurse_paintings.html\">publicly critiqued\u003c/a> by actual nurses. \u003cb>Painting Today\u003c/b> inspired me to do further research (hence the info on nurses’ opinions of Richard Prince), which is a testament to its educational power. Buy it and make someone smarter about painting — today.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t judge an art book by its title. A recently released book that says \u003cb>Painting Today\u003c/b> in big blue letters on its cover actually chronicles artwork made throughout my entire lifetime. In art, and in this book in particular, “Today” can mean the ’70s and “Tomorrow” might refer to 1994. “Contemporary” is an umbrella description underneath which many successful art experiments have taken shape, and many of the resulting, remarkable “paintings” are pictured in \u003cb>Painting Today\u003c/b>, some of which don’t even have any actual paint on them.\u003c/p>\n\u003cp>Researcher Tony Godfrey compiled this heavy collection, which could be considered an excellent coffee table book, a conversational textbook, or an impressive gift for any art lover who deserves to be spoiled (it retails for $75). Weighing in at over ten pounds, the book is overflowing with gorgeous full-page reproductions of paintings sprinkled with Godfrey’s smartly organized commentary. Just scan the text for a corresponding bolded plate number to learn more about the images you like. The book is best enjoyed in calculated doses, which is why it is divided into chapters such as “Ambiguous Abstraction,” “Neo-expressionism,” “Post-Feminism,” and “Painting Tomorrow.” \u003c/p>\n\u003cp>Not surprisingly, Blue chip artists like Damien Hirst, Gerhard Richter, and Anselm Kiefer make repeat appearances in multiple sections. However, the book does a bang-up job of highlighting a diverse range of artists from thirty countries, and a significant portion are women. Several of the artists are from California, have had major exhibitions at Bay Area museums, and/or have work in local public collections.\u003c/p>\n\u003cp>The most exciting part of the book is how the image placement creates a rowdy dialogue between paintings. If this book could talk, it would roar like a raging party in an echoing art museum. For example, seeing Beatriz Milhazes’s and Philip Taaffe’s flowery canvases across from one another, I literally imagined them as ladies in fancy dresses chatting across the pages.\u003c/p>\n\u003cp>Richter’s “\u003ca href=\"http://www.gerhard-richter.com/art/paintings/photo_paintings/detail.php?5996\">Annunciation after Titian\u003c/a>” (1973) shows four panels of his interpretation of Titian’s original “\u003ca href=\"http://en.wikipedia.org/wiki/Annunciation_%28Titian%29\">Annunciation\u003c/a>” — each one blurrier than the one before. These and other Richter paintings such as “Ella” prove his undeniable mastery at rendering soft focus blurriness. An abstract Richter painting is spoken of highly by Godfrey, but it made me want the artist to stick to blurry portraits. I appreciated the in-depth look at artists like Richter and was surprised to see lesser-known paintings by Hirst, including a photorealistic image of a mortuary (his dot paintings seem to get more face time in other books), but I would have liked to see more than one image from artists like Mark Bradford, Marilyn Minter, Yoshitomo Nara, and Katharina Grosse, whose installation of huge weather balloons covered in acrylic paint is breathtaking, even in a photograph. Also noticeably missing is most comic-inspired and so-called “low brow” art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Painting Today\u003c/b> took me to places I could only dream of going, with installation shots of the Haunch of Venison Gallery in London and the notorious 1993 Whitney Biennial. These long shots are an important bonus, emphasizing how placement and location are often central to the point of an artwork, hence the section titled “Painting Space” (which is not to be confused with art about the solar system).\u003c/p>\n\u003cp>I started to think abstract paintings weren’t exciting anymore when I got to the “Pure Abstraction” section, but then Bridget Riley’s graphic Tetris-like color explosion nearly popped off pages 138 and 139, and Estelle Thompson’s vertically striped, eye-crossing oil painting \u003cb>Skimmy\u003c/b> induced motion sickness on the next page. That painting must be even crazier in person, possibly even unbearable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Godfrey reveals trends that the artists themselves might not even recognize. A popular art school lesson asks students to represent one image multiple ways, an activity I thought of many times while looking at Richter’s Titian tribute; Alex Katz’s “Walk,” “Study for Walk,” and “The Light II” pictured consecutively in the “Western Traditions” chapter; Zhang Xiogang’s “Bloodline: Big Family” and “Big Family No. 1” in the “Photographic” section; and Richard Prince’s “Millionaire Nurse” and “Dude Ranch Nurse.” Prince’s painted-over inkjet prints of books on canvas have been \u003ca href=\"http://www.nursingadvocacy.org/media/va/nurse_paintings.html\">publicly critiqued\u003c/a> by actual nurses. \u003cb>Painting Today\u003c/b> inspired me to do further research (hence the info on nurses’ opinions of Richard Prince), which is a testament to its educational power. Buy it and make someone smarter about painting — today.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s more than a touch of melancholy on display at Electric Works this month; something I would argue is in keeping with the overall influence of comix (á la Art Spiegelman) on \u003ca href=\"http://www.paulmadonna.com/\">Paul Madonna\u003c/a> and \u003ca href=\"http://themilkmachine.com/\">Ian Huebert\u003c/a>. Spiegelman used the word ‘comix’ because he wanted to stress that his creations were not just humorous illustrations, but a new narrative technique: a ‘comix-ture’ of words and images that relied on the tension between what was being said and what was being illustrated.\u003c/p>\n\u003cp>I doubt that Speigelman was the first graphic artist to whom this occurred, but he managed to combine this insight with the idea that comix could broach material just as serious as any other novel, and arguably reinvented the comic book in America. He also introduced notes of irony, self-consciousness and melancholy that still permeate the genre, and it’s this tone that marries Madonna’s \u003cb>Album 01: In Which Era Will You Get Stuck?\u003c/b> exhibition with Huebert’s \u003cb>Drawing from the Plains.\u003c/b>\u003c/p>\n\u003cp>Madonna’s drawings are supporting documents to a limited-edition book, also called \u003cb>Album 01\u003c/b>, published jointly by Electric Works and the Paul Madonna Studio, and I think the show feels a little rough around the edges for this reason. The book is more coherent than the gallery installation — for example, it includes most of the stages that Madonna’s drawings underwent, providing a larger frame of reference for the artist’s ideas. “Balsa Planes 1 – 5,” which is currently my favorite piece, went through four iterations before it became the drawing that hangs on the gallery wall.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/balsa-plane-5.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Balsa Planes 5” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>While the final image is evocative on its own, when you see the entire five-panel series of wooden gliders and their paper plane counterparts playing out an ambiguous scene that could be a battle (or not), “Balsa Planes 1 – 5” becomes a meaningful synecdoche for the tension present in the rest of \u003cb>Album 01\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the playful colors and the fact that many of Madonna’s images involve toys, my overall read is of a narrator continually under attack.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/creature.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Creature” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>Attacked by what, I’m not exactly sure — memories, expectations, and nostalgia are my best guesses, and I think the role that commodities play here is interesting — but it’s a curiously indirect and persistent threat, one that shows up in the form of broken toy parts or bad dreams, at least until the final page of the book, when the narrator is accidentally poisoned by a cupcake that contains a dose of medicine for the family dog — mildly poisoned, that is, nothing fatal. A gentle melancholy. A familiar threat.\u003c/p>\n\u003cp>Ian Huebert’s is the stronger installation, which makes sense given that there is no book involved, and nothing meant to bundle the concept of the work other than the room in which it sits. Huebert is meticulous — you can tell by his rendering style — and I was impressed by the number of different media and techniques he put together, from hand-drawn, multi-panel serials to a re-appropriated table.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faspa.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“FASPA” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>If comix is the art of juxtaposition, or the art of the interval, then Huebert moves this juxtaposition out of the realm of solely text and image and into the multi-modal conversation of contemporary art, where many of his peers are also attempting to harness the same interval.\u003c/p>\n\u003cp>Huebert’s images are, as the title suggests, ‘from the plains:’ big, sturdy women and teenagers, endlessly flat horizons, haystacks, corn and gun cartridges. He’s from Nebraska, but anyone who has clocked time in this country’s agricultural centers will recognize his landscape, and not just formally, but emotionally. There’s a bleak strip called “Freezer King” that I can’t get out of my mind: a woman stripping corn of its kernels and immediately putting them on ice, in Ziploc bags labeled “July.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/freezer-king.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Freezer King” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>My parents used to do this with the pulp from the persimmons that they harvested off our tree down in the South Bay; in our world, it was a way of making a season’s flavor last just a little bit longer, of storing a favorite experience with the expectation that it could be brought out at another time. In Huebert’s world, the gesture takes on a special kind of bittersweetness, of a summer (and perhaps a way of life) put on ice.\u003c/p>\n\u003cp>Paul Madonna’s \u003cb>Album 01: In What Era Will You Get Stuck?\u003c/b> and Ian Huebert’s \u003cb>Drawing from the Plains\u003c/b> are on view at \u003ca href=\"http://www.sfelectricworks.com/\">Electric Works\u003c/a> until January 9, 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Electric Works will be hosting a book signing for Paul Madonna on December 19, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s more than a touch of melancholy on display at Electric Works this month; something I would argue is in keeping with the overall influence of comix (á la Art Spiegelman) on \u003ca href=\"http://www.paulmadonna.com/\">Paul Madonna\u003c/a> and \u003ca href=\"http://themilkmachine.com/\">Ian Huebert\u003c/a>. Spiegelman used the word ‘comix’ because he wanted to stress that his creations were not just humorous illustrations, but a new narrative technique: a ‘comix-ture’ of words and images that relied on the tension between what was being said and what was being illustrated.\u003c/p>\n\u003cp>I doubt that Speigelman was the first graphic artist to whom this occurred, but he managed to combine this insight with the idea that comix could broach material just as serious as any other novel, and arguably reinvented the comic book in America. He also introduced notes of irony, self-consciousness and melancholy that still permeate the genre, and it’s this tone that marries Madonna’s \u003cb>Album 01: In Which Era Will You Get Stuck?\u003c/b> exhibition with Huebert’s \u003cb>Drawing from the Plains.\u003c/b>\u003c/p>\n\u003cp>Madonna’s drawings are supporting documents to a limited-edition book, also called \u003cb>Album 01\u003c/b>, published jointly by Electric Works and the Paul Madonna Studio, and I think the show feels a little rough around the edges for this reason. The book is more coherent than the gallery installation — for example, it includes most of the stages that Madonna’s drawings underwent, providing a larger frame of reference for the artist’s ideas. “Balsa Planes 1 – 5,” which is currently my favorite piece, went through four iterations before it became the drawing that hangs on the gallery wall.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/balsa-plane-5.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Balsa Planes 5” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>While the final image is evocative on its own, when you see the entire five-panel series of wooden gliders and their paper plane counterparts playing out an ambiguous scene that could be a battle (or not), “Balsa Planes 1 – 5” becomes a meaningful synecdoche for the tension present in the rest of \u003cb>Album 01\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the playful colors and the fact that many of Madonna’s images involve toys, my overall read is of a narrator continually under attack.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/creature.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Creature” (2009), Paul Madonna, image courtesy Electric Works\u003c/p>\n\u003cp>Attacked by what, I’m not exactly sure — memories, expectations, and nostalgia are my best guesses, and I think the role that commodities play here is interesting — but it’s a curiously indirect and persistent threat, one that shows up in the form of broken toy parts or bad dreams, at least until the final page of the book, when the narrator is accidentally poisoned by a cupcake that contains a dose of medicine for the family dog — mildly poisoned, that is, nothing fatal. A gentle melancholy. A familiar threat.\u003c/p>\n\u003cp>Ian Huebert’s is the stronger installation, which makes sense given that there is no book involved, and nothing meant to bundle the concept of the work other than the room in which it sits. Huebert is meticulous — you can tell by his rendering style — and I was impressed by the number of different media and techniques he put together, from hand-drawn, multi-panel serials to a re-appropriated table.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/faspa.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“FASPA” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>If comix is the art of juxtaposition, or the art of the interval, then Huebert moves this juxtaposition out of the realm of solely text and image and into the multi-modal conversation of contemporary art, where many of his peers are also attempting to harness the same interval.\u003c/p>\n\u003cp>Huebert’s images are, as the title suggests, ‘from the plains:’ big, sturdy women and teenagers, endlessly flat horizons, haystacks, corn and gun cartridges. He’s from Nebraska, but anyone who has clocked time in this country’s agricultural centers will recognize his landscape, and not just formally, but emotionally. There’s a bleak strip called “Freezer King” that I can’t get out of my mind: a woman stripping corn of its kernels and immediately putting them on ice, in Ziploc bags labeled “July.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/freezer-king.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Freezer King” (2009), Ian Huebert, photograph by Danielle Sommer\u003c/p>\n\u003cp>My parents used to do this with the pulp from the persimmons that they harvested off our tree down in the South Bay; in our world, it was a way of making a season’s flavor last just a little bit longer, of storing a favorite experience with the expectation that it could be brought out at another time. In Huebert’s world, the gesture takes on a special kind of bittersweetness, of a summer (and perhaps a way of life) put on ice.\u003c/p>\n\u003cp>Paul Madonna’s \u003cb>Album 01: In What Era Will You Get Stuck?\u003c/b> and Ian Huebert’s \u003cb>Drawing from the Plains\u003c/b> are on view at \u003ca href=\"http://www.sfelectricworks.com/\">Electric Works\u003c/a> until January 9, 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Electric Works will be hosting a book signing for Paul Madonna on December 19, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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