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"content": "\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. Armed with one camera and a microphone, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\" target=\"offsite\" rel=\"noopener\">Kristin\u003c/a> and I headed to Marx and Zavattero, a gallery near Union Square. \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=15188\" target=\"offsite\" rel=\"noopener\">David Hevel\u003c/a>‘s quirky mash-up of faux flowers, taxidermy, and celebrity tributes brought out the eccentrics. As a Bernie Madoff-inspired rhino head with snot oozing out of its nostrils looked on, we asked some gallery goers about which animal they would like to be represented by, and which celebrity they think Hevel should pay tribute to next.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-1.jpg\">\u003ci>The Ascension of Saint Angelina\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-3.jpg\">\u003ci>Bernie Madoff\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-2.jpg\">\u003ci>Heaven Can’t Wait (Michael Jackson & Farrah Fawcett)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mike-arcega.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Michael Arcega\u003c/b>\u003cbr>“If David were to make a sculpture of me, I’d want it to be some kind of tiger or a lion of sorts, but it would probably actually be a monkey.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jake-lindsay.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Lindsay-Ceniceros\u003c/b>\u003cbr>“Ducks. I have an affinity for wooden ducks, specifically. I know a wooden duck isn’t an animal, but it’s the archetypical duck emblem that for some reason resonates with me. I like the greyhound sculptures but I would like to see more poultry, I think he could do well with poultry. I work at \u003ca href=\"http://www.scrap-sf.org/\" target=\"offsite\" rel=\"noopener\">SCRAP\u003c/a> and I’d like to see what he’d do with our materials. David’s work is a glamorous ultra fabulous goulash of imagery and items.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chelsea-staub.jpg\">\u003c/p>\n\u003cp>\u003cb>Chelsea Staub [center] with her roommates\u003c/b>\u003cbr>“I like the rhino with the snot. It’s really obscure. I haven’t seen anything like it before, and it’s really gross which I find oddly fascinating. If David were to make a sculpture of me, it’d probably be a cat. I like to nap.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/steph-syjuco.jpg\">\u003c/p>\n\u003cp>\u003cb>Stephanie Syjuco\u003c/b>\u003cbr>“An antelope because I’m always in a rush.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sung-choi.jpg\">\u003c/p>\n\u003cp>\u003cb>Sung Choi-Hevel\u003c/b>\u003cbr>“If David were to make a sculpture of me I would say it would be a doe because they’re large animals and they’re very powerful yet they have that outside appearance of being innocent and sweet. And they’re elegant and have long necks.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kathy-sinus.jpg\">\u003c/p>\n\u003cp>\u003cb>Kathy Stinus\u003c/b>\u003cbr>“An animal to represent me? Hopefully not a baboon because I know that’s one of his favorites. Not something cute like a bunny rabbit…it wouldn’t be a cheetah or a rhinoceros head. Maybe a pit bull.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/son-le.jpg\">\u003c/p>\n\u003cp>\u003cb>Son Le [left] with a friend\u003c/b>\u003cbr>“David should pay tribute to Britney Spears. The DJ just played “Hit Me Baby One More Time” and we were just talking about how that video represented a cultural turning point. Before that, there wasn’t as much targeting of people 18 and under and now tweens are the cultural force which people spend money through. Nobody else besides Miley Cyrus made money the last three years. [Britney Spears’s] life has become a mode of conception. Everyone was sucking up her insanity like free booze at a gallery opening.”\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/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cp>For its 35th anniversary, \u003ca href=\"http://www.sfcamerawork.org\">SF Camerawork\u003c/a> is telling the story of San Francisco through the eyes of more than thirty artists. \u003cb>An Autobiography of the San Francisco Bay Area\u003c/b> is a two-part show. \u003cb>Part One: San Francisco Plays Itself\u003c/b>, which opened September 10, 2009 is a venn diagram of overlapping themes: it begins with photographs of places, switches to portraits, then moves on to people in places. The photographs range from the panoramic to the microcosmic. Shi Guorui took his wall-sized photo of the San Francisco skyline with a pinhole camera aimed from Alcatraz. It’s a familiar view of the city, but it looks alien, unreal. Ari Marcopoulos created grainy close-ups of his sons’ scars, blown up and photocopied to be larger than life. Both capture Bay Area moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shi-guorui.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Shi Guorui\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerawork doesn’t own a permanent collection, so curator Chuck Mobley had to hunt down photographers and photographs that let the Bay Area speak for itself. Larry Sultan’s decadent portrait of San Francisco socialite Denise Hale is just around the corner from Jona Frank’s series of working people in uniforms. Michael Rauner’s illuminated architectural photographs of spiritual places in the Bay Area follows Alex Fradkin’s photos of decrepit World War I and II bunkers along the coast.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/larry-sultan.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Larry Sultan\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even non-portraits feel personal. Mobley invited the artists to contribute their own thoughts or experiences to the show. That decision adds another autobiographical element; we read about the photographers’ processes or their intentions, their initial feelings about their work, and how those feelings have changed. Richard Misrach reflects on his initial disappointment with the photographic essay of Telegraph Avenue he created as a young man. “Instead of being an effective political statement,” he writes on the plaque, “I felt like I ended up with a coffee table book…Thirty-five years later, I find that the work in fact effectively captures a historical moment. So, perhaps I was too hard on myself back then.” Michael Jang is frank about his photographs, also taken when he was younger. “In retrospect, I see these images as a humorous look into the life of an Asian family trying to assimilate into the American mainstream of the 1970s.”\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/michael-jang.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Michael Jang\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerwork’s show is about more than catching any one historical moment. It’s a collection of moments and views, landscapes and opinions, as diverse and contradictory, sometimes noisy and sometimes quiet, as the vibrant unpredictable city itself.\u003c/p>\n\u003cp>\u003cb>Part Two: The Future Lasts a Long Time\u003c/b> opens early next year. It will give artists a chance to revisit and revise their own work, and to continue ongoing projects.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>An Autobiography of the Bay Area Part One: San Francisco Plays Itself\u003c/b> runs through October 31, 2009 at SF Camerawork in San Francisco. For \u003ca href=\"http://www.sfcamerawork.org\">more information\u003c/a>, visit sfcamerawork.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For its 35th anniversary, \u003ca href=\"http://www.sfcamerawork.org\">SF Camerawork\u003c/a> is telling the story of San Francisco through the eyes of more than thirty artists. \u003cb>An Autobiography of the San Francisco Bay Area\u003c/b> is a two-part show. \u003cb>Part One: San Francisco Plays Itself\u003c/b>, which opened September 10, 2009 is a venn diagram of overlapping themes: it begins with photographs of places, switches to portraits, then moves on to people in places. The photographs range from the panoramic to the microcosmic. Shi Guorui took his wall-sized photo of the San Francisco skyline with a pinhole camera aimed from Alcatraz. It’s a familiar view of the city, but it looks alien, unreal. Ari Marcopoulos created grainy close-ups of his sons’ scars, blown up and photocopied to be larger than life. Both capture Bay Area moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shi-guorui.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Shi Guorui\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerawork doesn’t own a permanent collection, so curator Chuck Mobley had to hunt down photographers and photographs that let the Bay Area speak for itself. Larry Sultan’s decadent portrait of San Francisco socialite Denise Hale is just around the corner from Jona Frank’s series of working people in uniforms. Michael Rauner’s illuminated architectural photographs of spiritual places in the Bay Area follows Alex Fradkin’s photos of decrepit World War I and II bunkers along the coast.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/larry-sultan.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Larry Sultan\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even non-portraits feel personal. Mobley invited the artists to contribute their own thoughts or experiences to the show. That decision adds another autobiographical element; we read about the photographers’ processes or their intentions, their initial feelings about their work, and how those feelings have changed. Richard Misrach reflects on his initial disappointment with the photographic essay of Telegraph Avenue he created as a young man. “Instead of being an effective political statement,” he writes on the plaque, “I felt like I ended up with a coffee table book…Thirty-five years later, I find that the work in fact effectively captures a historical moment. So, perhaps I was too hard on myself back then.” Michael Jang is frank about his photographs, also taken when he was younger. “In retrospect, I see these images as a humorous look into the life of an Asian family trying to assimilate into the American mainstream of the 1970s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Adrienne Skye Roberts has a note on her messenger bag that says “Nothing is yours until you pass it to another.” She laughs when I notice it, and mentions in an embarrassed voice that only after she completed the lettering did a friend point out that she was issuing an invitation for someone to steal her stuff. That might be the case, but the mantra describes her creative practice perfectly.\u003c/p>\n\u003cp>Roberts, a former graduate student at the California College of Art, has been working as a writer, curator and educator in the Bay Area for much of the last decade. Born in San Francisco and raised in the North Bay, the first real amount of time she spent away from the Bay was in 2006, when she worked as a volunteer in Katrina-ravished New Orleans. The experience made a lasting impression, and this weekend we all get to benefit from it.\u003c/p>\n\u003cp>Instead of allowing the memory of her time as a volunteer to fade into the background, and with the help of an Alternative Exposure grant from Southern Exposure, Roberts is passing it along in the form of a weekend-long art exhibition and film screening centered around questions about home: how to define it, and how we know when we belong. There are forty Bay Area artists participating from a variety of backgrounds, and the diversity is great to see. Even better is the location — the exhibit takes place in two Mission District houses that have been turned into de-facto galleries, with a film screening at a third location on Friday.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sugartable.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Hilary Schwartz\u003c/p>\n\u003cp>The show was in installation-mode when I visited with Roberts on Wednesday night, but the depth of her thinking on the subject of home was apparent as I interviewed her, and I’m excited to re-visit the living rooms and bedrooms of 951 Shotwell and 3352 24th this weekend to see the exhibit in the flesh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime….\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Where did you get the idea for “home” as a subject for an art show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was on my trip to New Orleans that I started thinking a lot about home, and what home is for my generation. A lot of it has been an investigation of my own position as a young white person of a middle class background. In New Orleans, I was volunteering in neighborhoods previously inhabited by people whose families had lived there for generations, many of whom had been forced to leave even as other groups (like the volunteers) were making the choice to come. Here in the Mission District, I’m aware yet again that my presence is a double-edge sword. It’s important to me that I stay accountable to that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noe3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Claire Kessler-Bradner\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Was there a sense of conflict between volunteers and locals while you were in New Orleans?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was below the surface, for the most part, but I definitely saw some outbursts that I think were related. For the most part, the volunteers and activists were of an entirely different demographic, many of whom appeared — all of a sudden — to be living comfortably in somebody else’s space. There wasn’t really enough of a conversation about how we got there, and that we had the choice and mobility to be able to do so.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cornercarts.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> What do you think you gain by having the show in a house, instead of a gallery?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, there’s the act of having to enter a private space. I like that it blurs some of the ideas we have about the boundaries between public and private. I also think about it in relation to the law of eminent domain, and the idea that the government can repossess land for “the public good.” The definition of public good is so vague. It can mean building firehouses and police stations, but at the same time it’s loose enough that it incorporates things like widening the streets for cars. It’s the reason that the Fillmore district looks the way it does. I wanted to focus on what renters can do on their own to assign value to a property, or what people in the neighborhood consider “the public good.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/homies1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Cindy DeLosa\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> I like the diversity of artists represented. It feels like a living room conversation between neighbors, and a group of neighbors that don’t necessarily share the same background. How did you go about curating the show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, the artists had to be local to the Bay Area. I also knew that I wanted as wide a spectrum as possible, on all levels — meaning medium, age, and professional background. I tried to be really conscious about who I sent the call to. For instance, I made sure to contact places like the Mission Cultural Center and Precita Eyes. I’m excited about the range.\u003c/p>\n\u003cp>I think home is a fascinating theme for a show because it’s able to travel so universally. It’s inherently very personal, and at the same time, political. It functions on so many realms — I think that’s why it’s held my attention for so long.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Home is something I carry with me\u003c/b> will last through Labor Day weekend only. Opening: Friday, September 4, 4-8 p.m., 3352 24th Street and 951 Shotwell Street. Film screening: Friday, September 4, 9 p.m., 348 Shotwell Street. For \u003ca href=\"http://missionmission.wordpress.com/2009/09/03/home-is-something-i-carry-with-me/\">more information\u003c/a> visit Mission Mission.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adrienne Skye Roberts has a note on her messenger bag that says “Nothing is yours until you pass it to another.” She laughs when I notice it, and mentions in an embarrassed voice that only after she completed the lettering did a friend point out that she was issuing an invitation for someone to steal her stuff. That might be the case, but the mantra describes her creative practice perfectly.\u003c/p>\n\u003cp>Roberts, a former graduate student at the California College of Art, has been working as a writer, curator and educator in the Bay Area for much of the last decade. Born in San Francisco and raised in the North Bay, the first real amount of time she spent away from the Bay was in 2006, when she worked as a volunteer in Katrina-ravished New Orleans. The experience made a lasting impression, and this weekend we all get to benefit from it.\u003c/p>\n\u003cp>Instead of allowing the memory of her time as a volunteer to fade into the background, and with the help of an Alternative Exposure grant from Southern Exposure, Roberts is passing it along in the form of a weekend-long art exhibition and film screening centered around questions about home: how to define it, and how we know when we belong. There are forty Bay Area artists participating from a variety of backgrounds, and the diversity is great to see. Even better is the location — the exhibit takes place in two Mission District houses that have been turned into de-facto galleries, with a film screening at a third location on Friday.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sugartable.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Hilary Schwartz\u003c/p>\n\u003cp>The show was in installation-mode when I visited with Roberts on Wednesday night, but the depth of her thinking on the subject of home was apparent as I interviewed her, and I’m excited to re-visit the living rooms and bedrooms of 951 Shotwell and 3352 24th this weekend to see the exhibit in the flesh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime….\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Where did you get the idea for “home” as a subject for an art show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was on my trip to New Orleans that I started thinking a lot about home, and what home is for my generation. A lot of it has been an investigation of my own position as a young white person of a middle class background. In New Orleans, I was volunteering in neighborhoods previously inhabited by people whose families had lived there for generations, many of whom had been forced to leave even as other groups (like the volunteers) were making the choice to come. Here in the Mission District, I’m aware yet again that my presence is a double-edge sword. It’s important to me that I stay accountable to that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noe3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Claire Kessler-Bradner\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Was there a sense of conflict between volunteers and locals while you were in New Orleans?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was below the surface, for the most part, but I definitely saw some outbursts that I think were related. For the most part, the volunteers and activists were of an entirely different demographic, many of whom appeared — all of a sudden — to be living comfortably in somebody else’s space. There wasn’t really enough of a conversation about how we got there, and that we had the choice and mobility to be able to do so.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cornercarts.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> What do you think you gain by having the show in a house, instead of a gallery?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, there’s the act of having to enter a private space. I like that it blurs some of the ideas we have about the boundaries between public and private. I also think about it in relation to the law of eminent domain, and the idea that the government can repossess land for “the public good.” The definition of public good is so vague. It can mean building firehouses and police stations, but at the same time it’s loose enough that it incorporates things like widening the streets for cars. It’s the reason that the Fillmore district looks the way it does. I wanted to focus on what renters can do on their own to assign value to a property, or what people in the neighborhood consider “the public good.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/homies1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Cindy DeLosa\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> I like the diversity of artists represented. It feels like a living room conversation between neighbors, and a group of neighbors that don’t necessarily share the same background. How did you go about curating the show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, the artists had to be local to the Bay Area. I also knew that I wanted as wide a spectrum as possible, on all levels — meaning medium, age, and professional background. I tried to be really conscious about who I sent the call to. For instance, I made sure to contact places like the Mission Cultural Center and Precita Eyes. I’m excited about the range.\u003c/p>\n\u003cp>I think home is a fascinating theme for a show because it’s able to travel so universally. It’s inherently very personal, and at the same time, political. It functions on so many realms — I think that’s why it’s held my attention for so long.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Home is something I carry with me\u003c/b> will last through Labor Day weekend only. Opening: Friday, September 4, 4-8 p.m., 3352 24th Street and 951 Shotwell Street. Film screening: Friday, September 4, 9 p.m., 348 Shotwell Street. For \u003ca href=\"http://missionmission.wordpress.com/2009/09/03/home-is-something-i-carry-with-me/\">more information\u003c/a> visit Mission Mission.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happened to pen pals? Emailing doesn’t hold a candle to the tactile feeling and wonderful anticipation of handmade, postal service-enabled correspondence. Perhaps the decline of pen pal culture was the motivation behind Albert Reyes, Aiyana Udesen, and Matt Furie’s current show at Giant Robot Gallery, \u003cb>Future Colors of America\u003c/b>. Passing their drawings through the mail with the intent that each would add to the pieces, Udesen and Furie (in S.F.), and Reyes (in L.A.) created a substantial collection of collaborative works, mixing them together with solo pieces for the exhibit. Displayed in a continuous band around the gallery and mounted with endless pushpins, the artwork represents the collective consciousness of three perfectly matched artists. Influenced by pop subcultures, their work harmonizes incredibly well, and it’s difficult to discern who drew what, though it doesn’t matter much at all because the show is meant to be viewed as a cumulative dialogue.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-1.jpg\">\u003c/center>\n\u003cp>Matt Furie is known for his colorful, subversive characters and \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=24070\" target=\"offsite\" rel=\"noopener\">Boy’s Club ‘zines.\u003c/a> His girl, Aiyana Udesen, is equally brilliant, and savvy with neon colors and pop culture references. Looking at their art (and his heartfelt testimonial on her Web site), it’s easy to see why they dig each other. He draws monsters, she draws celebrities, they both draw animals, and together their work becomes doubly compelling, and their sharp wit cuts like a rainbow knife.\u003c/p>\n\u003cp>I met Albert Reyes at the opening of a group show at White Walls Gallery a few years ago where his installation of drawings on book covers crawled up the wall to the ceiling. A pile of beer bottles punctuated the display, and Reyes explained they were the remnants of the libations he and his fellow artists had consumed while installing the show. Yes, it was a pile of recycling displayed as art, but it was conceptual. The bottles were part of the process. Originally from San Mateo and known for his street art and killer illustrative style, Reyes seems to thrive when working as part of a community, which is why \u003cb>Future Colors of America\u003c/b> is a fresh opportunity to check out his latest work.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-2.jpg\">\u003c/center>\n\u003cp>The artists are prolific and the exhibit turned out chaotic but tight, with a hundred or more drawings that come across as inside jokes you’re being let in on. Displayed like a new school, D.I.Y. salon, you could spend an hour in the small gallery and still miss a few pieces because they’re so densely packed together.\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/fur-3.jpg\">\u003c/center> \n\u003cp>The art reminded me of the \u003ca href=\"http://en.wikipedia.org/wiki/Exquisite_corpse\" target=\"offsite\" rel=\"noopener\">Exquisite corpse\u003c/a> collaboration method. Most everyone is in need of an artistic outlet and more interesting mail, so why not send a friend an incomplete artwork to finish? Or, send it to me. I’m taking submissions, and I promise to return the creativity. Mail to K. Farr, KQED, 2601 Mariposa Street, SF, 94110. Pen pals forever!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Future Colors of America\u003c/b> is on view through September 16, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happened to pen pals? Emailing doesn’t hold a candle to the tactile feeling and wonderful anticipation of handmade, postal service-enabled correspondence. Perhaps the decline of pen pal culture was the motivation behind Albert Reyes, Aiyana Udesen, and Matt Furie’s current show at Giant Robot Gallery, \u003cb>Future Colors of America\u003c/b>. Passing their drawings through the mail with the intent that each would add to the pieces, Udesen and Furie (in S.F.), and Reyes (in L.A.) created a substantial collection of collaborative works, mixing them together with solo pieces for the exhibit. Displayed in a continuous band around the gallery and mounted with endless pushpins, the artwork represents the collective consciousness of three perfectly matched artists. Influenced by pop subcultures, their work harmonizes incredibly well, and it’s difficult to discern who drew what, though it doesn’t matter much at all because the show is meant to be viewed as a cumulative dialogue.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-1.jpg\">\u003c/center>\n\u003cp>Matt Furie is known for his colorful, subversive characters and \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=24070\" target=\"offsite\" rel=\"noopener\">Boy’s Club ‘zines.\u003c/a> His girl, Aiyana Udesen, is equally brilliant, and savvy with neon colors and pop culture references. Looking at their art (and his heartfelt testimonial on her Web site), it’s easy to see why they dig each other. He draws monsters, she draws celebrities, they both draw animals, and together their work becomes doubly compelling, and their sharp wit cuts like a rainbow knife.\u003c/p>\n\u003cp>I met Albert Reyes at the opening of a group show at White Walls Gallery a few years ago where his installation of drawings on book covers crawled up the wall to the ceiling. A pile of beer bottles punctuated the display, and Reyes explained they were the remnants of the libations he and his fellow artists had consumed while installing the show. Yes, it was a pile of recycling displayed as art, but it was conceptual. The bottles were part of the process. Originally from San Mateo and known for his street art and killer illustrative style, Reyes seems to thrive when working as part of a community, which is why \u003cb>Future Colors of America\u003c/b> is a fresh opportunity to check out his latest work.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-2.jpg\">\u003c/center>\n\u003cp>The artists are prolific and the exhibit turned out chaotic but tight, with a hundred or more drawings that come across as inside jokes you’re being let in on. Displayed like a new school, D.I.Y. salon, you could spend an hour in the small gallery and still miss a few pieces because they’re so densely packed together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The centerpieces of \u003cb>From the Bronze Age of China to Japan’s Floating World\u003c/b>, now through October 18, 2009 at the Cantor Arts Center, are a handful of Chinese bronzes dated 1600-700 BCE. As the first things you see upon entering the Ruth Levison Halperin Gallery from the stairs of the Cantor’s front entrance, they have been given a place of prominence. I guess I appreciate the historical importance of these somber pieces, and I find their forms to be perfectly admirable and appealing, but I have to confess that I was nowhere near as excited by these ancient artifacts as I was the profusion of woodblock prints in this modest and handsome show.\u003c/p>\n\u003cp>A pair of Chinese New Year’s woodblocks from the first half of the 20th century caught my eye first. Printed sometime between 1911 and 1949, these prints are rich with gaudy colors and almost hallucinatory forms. \u003cb>Boy and Fish or Abundance\u003c/b> is a good example of this genre, meant to ensure prosperity in the coming year. In it, a chubby, rosy-cheeked child is delighting in his grasp of an enormous, bug-eyed fish (a carp, to my untrained eye), which is almost as massive as he is. I particularly liked the lad’s red lips, which are shameless in their projection of good health and prosperity.\u003c/p>\n\u003cp>Next to this exuberant piece are several more — sober examples of Chinese woodblock styles. \u003cb>Everyone Hates the Traitor-thief Jiang (Chiang Kai-shek)\u003c/b>, by Gu Yiehou, is as unsubtle as its title suggests. Created after the close of World War II, the political cartoon depicts the U.S. war ally and his grotesque posse as betrayers, sycophants, and puppets — in one case, literally. Equally propagandistic is \u003cb>Getting Back Our Food and Livestock\u003c/b>, by Wo Zha from the same period. Gone are the garish hues of the New Year’s prints or even the aforementioned cartoon. Instead, the artist gives us a stark black-and-white scene showing the explosive, blood-soaked liberation of goats and cattle from Japanese invaders.\u003c/p>\n\u003cp>For their part, the Japanese were equally fond of a good political cartoon. \u003cb>Battle of the Currencies\u003c/b>, an 1873 print by Keisai Yoshiiku, is an early form of manga that shows British and Japanese currencies in surreal, hand-to-hand combat.\u003c/p>\n\u003cp>Other pieces suggest magical realism. My favorite object in this category — indeed, in the entire show — is \u003cb>Minamoto no Yorimitsu Striking at the Ground Spider\u003c/b>, an 1892 woodblock by Tsukioka Yoshitoshi. In it, a maniacal spider disguised as a Shinto priest is draping its sheet-like web over our hero, who is pulling his sword to subdue the monstrous creature. Get really close, and you can see an extraordinarily delicate textured pattern of squares within squares on the man’s robe, which is a lovely contrast to the wood grain behind the beast. I can’t tell you whether this late 19th-century print is a greater technical advance than a 3,000-year-old bronze serving dish; I’m hoping it doesn’t matter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>From the Bronze Age of China to Japan’s Floating World\u003c/b> runs through October 18, 2009 at the Cantor Arts Center at Stanford University. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit museum.stanford.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The centerpieces of \u003cb>From the Bronze Age of China to Japan’s Floating World\u003c/b>, now through October 18, 2009 at the Cantor Arts Center, are a handful of Chinese bronzes dated 1600-700 BCE. As the first things you see upon entering the Ruth Levison Halperin Gallery from the stairs of the Cantor’s front entrance, they have been given a place of prominence. I guess I appreciate the historical importance of these somber pieces, and I find their forms to be perfectly admirable and appealing, but I have to confess that I was nowhere near as excited by these ancient artifacts as I was the profusion of woodblock prints in this modest and handsome show.\u003c/p>\n\u003cp>A pair of Chinese New Year’s woodblocks from the first half of the 20th century caught my eye first. Printed sometime between 1911 and 1949, these prints are rich with gaudy colors and almost hallucinatory forms. \u003cb>Boy and Fish or Abundance\u003c/b> is a good example of this genre, meant to ensure prosperity in the coming year. In it, a chubby, rosy-cheeked child is delighting in his grasp of an enormous, bug-eyed fish (a carp, to my untrained eye), which is almost as massive as he is. I particularly liked the lad’s red lips, which are shameless in their projection of good health and prosperity.\u003c/p>\n\u003cp>Next to this exuberant piece are several more — sober examples of Chinese woodblock styles. \u003cb>Everyone Hates the Traitor-thief Jiang (Chiang Kai-shek)\u003c/b>, by Gu Yiehou, is as unsubtle as its title suggests. Created after the close of World War II, the political cartoon depicts the U.S. war ally and his grotesque posse as betrayers, sycophants, and puppets — in one case, literally. Equally propagandistic is \u003cb>Getting Back Our Food and Livestock\u003c/b>, by Wo Zha from the same period. Gone are the garish hues of the New Year’s prints or even the aforementioned cartoon. Instead, the artist gives us a stark black-and-white scene showing the explosive, blood-soaked liberation of goats and cattle from Japanese invaders.\u003c/p>\n\u003cp>For their part, the Japanese were equally fond of a good political cartoon. \u003cb>Battle of the Currencies\u003c/b>, an 1873 print by Keisai Yoshiiku, is an early form of manga that shows British and Japanese currencies in surreal, hand-to-hand combat.\u003c/p>\n\u003cp>Other pieces suggest magical realism. My favorite object in this category — indeed, in the entire show — is \u003cb>Minamoto no Yorimitsu Striking at the Ground Spider\u003c/b>, an 1892 woodblock by Tsukioka Yoshitoshi. In it, a maniacal spider disguised as a Shinto priest is draping its sheet-like web over our hero, who is pulling his sword to subdue the monstrous creature. Get really close, and you can see an extraordinarily delicate textured pattern of squares within squares on the man’s robe, which is a lovely contrast to the wood grain behind the beast. I can’t tell you whether this late 19th-century print is a greater technical advance than a 3,000-year-old bronze serving dish; I’m hoping it doesn’t matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I had a pretty sweet childhood. You? Atari 2600. \u003cb>Star Wars\u003c/b> (the real \u003cb>Star Wars\u003c/b>, the Mark Hamill, Carrie Fisher, Harrison Ford one). Legos. Matchbox cars. And comic books, musty, yellow-paged comic books. The faded, muted-color comic books. A whole new visual and written world of “Richie Rich” escapades and “Archie” adventures. Fast forward to 21st-century San Francisco, and I’m itchin’ to rediscover my comic book roots. I head down the hill to the Cartoon Art Museum, maneuver past the pre-teens in the lobby, and duck into the galleries.\u003c/p>\n\u003cp>Oh wow. Rich drawings of Disney’s \u003cb>Sleeping Beauty\u003c/b> hang in one room. Drool-worthy animation from \u003cb>Little Mermaid\u003c/b> and \u003cb>Roger Rabbit\u003c/b> in another. I, however, while away my time in the room devoted to \u003cb>Monsters of Webcomics\u003c/b>. The exhibit, which winds around the entire room, features ten artists who’ve taken their comic drawing skillz to the world wide web. Each artist is given about 5 feet of wall space to hang their framed strips. While the lights are a bit too dim for a gallery displaying such detailed work, I am still able to geek out. The featured comics are an eclectic mix ranging from short strips to full-length graphic novels, including comedy, drama, history, science fiction, and socio-political commentary. Any webcomic not represented on the walls is given its due in a virtual gallery. And, yes, I realize the irony of going to a museum to see art created for the web. However, some things cannot be found online. An interview with the artist begins each exhibit. Also on display are drawings detailing the step-by-step process from thumbnail to coloring and rendering to the final page.\u003c/p>\n\u003cp>These days the world wide web spells doomsday for print media (so sad), but for comic book writers, it means something else. These artists can reach a wider audience and tackle subject matter most comic book publishers wouldn’t touch. It’s the “path of least resistance…and it’s easier to merchandise,” says Chris Onstad of \u003ca href=\"http://achewood.com/\">Achewood\u003c/a>, a popular, character-driven webcomic that follows the tragi-comic lives of woodland creatures. Spike writes \u003ca href=\"http://templaraz.com/\">Templar, AZ\u003c/a>, which follows fictional people in a fictional town in black and white. He says that his comic, being long and plot driven, was destined to be thousands of pages and wanted it to be 100% available at all times to readers so that they could start at the beginning.\u003c/p>\n\u003cp>The sound of two young women giggling just a few feat away interrupts my reading. I saunter over. It’s a black and white pencil-figured comic strip called \u003ca href=\"http://www.harkavagrant.com/\">Hark! A Vagrant!\u003c/a> by Kate Beaton, which cartoons historical figures: George Washington celebrating the 4th of July with a young 21st century girl by “crossing the shit over the Delaware” and “eating some barbeques.” Santa Claus demanding: “Woman, where are my cookies?” A depressed Mary Shelley distraught that she must constantly refuse the sexual advances of one Lord Byron. In her interview Kate mentions, “If it weren’t for the internet, I’m sure no one would have seen my comics aside from my friends.”\u003c/p>\n\u003cp>Another favorite comic from the exhibit is \u003ca href=\"http://pbfcomics.com/\">The Perry Bible Fellowship\u003c/a> by Nicholas Gurewitch, who draws dark and twisted gags in lush color or black and white. One comic depicts a soldier’s marriage proposal to a young woman by spelling out “Will You Marry Me” using the dead bodies strewn on a Normandy-like beach. Gurewitch says he’s chosen to publish online because, “I should not excuse myself from the downfall of the rest of civilization.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comics I read when I was a kid had glossy covers and carpaccio thin pages with somewhat smudged illustrations, not that I ever minded. I revered them and still have a collection of dozens. Now I’m all grown up — and so is Archie. He has even \u003ca href=\"http://www.cnn.com/2009/SHOWBIZ/books/05/28/comic..book.archie.marrying/index.html\" target=\"offiste\" rel=\"noopener\">proposed to Veronica\u003c/a>. Thanks to the web, comic writers can reach a much larger audience, create work in their own time, and bypass any creative constraints of a publisher or editor. The “Monsters” are out and on display at the Cartoon Art Museum. I still miss the musty smell of comic books though.\u003c/p>\n\u003cp>Very cool heads up: Nicholas Gurewitch of \u003cb>The Perry Bible Fellowship\u003c/b> fame will be at the Cartoon Art Museum Friday, August 28, 2009 from 7-9pm to discuss his creative process. Q & A to follow! Call 415-227-8666, ext 313 for reservations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Monsters of Webcomics\u003c/b> is up through December 9, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I had a pretty sweet childhood. You? Atari 2600. \u003cb>Star Wars\u003c/b> (the real \u003cb>Star Wars\u003c/b>, the Mark Hamill, Carrie Fisher, Harrison Ford one). Legos. Matchbox cars. And comic books, musty, yellow-paged comic books. The faded, muted-color comic books. A whole new visual and written world of “Richie Rich” escapades and “Archie” adventures. Fast forward to 21st-century San Francisco, and I’m itchin’ to rediscover my comic book roots. I head down the hill to the Cartoon Art Museum, maneuver past the pre-teens in the lobby, and duck into the galleries.\u003c/p>\n\u003cp>Oh wow. Rich drawings of Disney’s \u003cb>Sleeping Beauty\u003c/b> hang in one room. Drool-worthy animation from \u003cb>Little Mermaid\u003c/b> and \u003cb>Roger Rabbit\u003c/b> in another. I, however, while away my time in the room devoted to \u003cb>Monsters of Webcomics\u003c/b>. The exhibit, which winds around the entire room, features ten artists who’ve taken their comic drawing skillz to the world wide web. Each artist is given about 5 feet of wall space to hang their framed strips. While the lights are a bit too dim for a gallery displaying such detailed work, I am still able to geek out. The featured comics are an eclectic mix ranging from short strips to full-length graphic novels, including comedy, drama, history, science fiction, and socio-political commentary. Any webcomic not represented on the walls is given its due in a virtual gallery. And, yes, I realize the irony of going to a museum to see art created for the web. However, some things cannot be found online. An interview with the artist begins each exhibit. Also on display are drawings detailing the step-by-step process from thumbnail to coloring and rendering to the final page.\u003c/p>\n\u003cp>These days the world wide web spells doomsday for print media (so sad), but for comic book writers, it means something else. These artists can reach a wider audience and tackle subject matter most comic book publishers wouldn’t touch. It’s the “path of least resistance…and it’s easier to merchandise,” says Chris Onstad of \u003ca href=\"http://achewood.com/\">Achewood\u003c/a>, a popular, character-driven webcomic that follows the tragi-comic lives of woodland creatures. Spike writes \u003ca href=\"http://templaraz.com/\">Templar, AZ\u003c/a>, which follows fictional people in a fictional town in black and white. He says that his comic, being long and plot driven, was destined to be thousands of pages and wanted it to be 100% available at all times to readers so that they could start at the beginning.\u003c/p>\n\u003cp>The sound of two young women giggling just a few feat away interrupts my reading. I saunter over. It’s a black and white pencil-figured comic strip called \u003ca href=\"http://www.harkavagrant.com/\">Hark! A Vagrant!\u003c/a> by Kate Beaton, which cartoons historical figures: George Washington celebrating the 4th of July with a young 21st century girl by “crossing the shit over the Delaware” and “eating some barbeques.” Santa Claus demanding: “Woman, where are my cookies?” A depressed Mary Shelley distraught that she must constantly refuse the sexual advances of one Lord Byron. In her interview Kate mentions, “If it weren’t for the internet, I’m sure no one would have seen my comics aside from my friends.”\u003c/p>\n\u003cp>Another favorite comic from the exhibit is \u003ca href=\"http://pbfcomics.com/\">The Perry Bible Fellowship\u003c/a> by Nicholas Gurewitch, who draws dark and twisted gags in lush color or black and white. One comic depicts a soldier’s marriage proposal to a young woman by spelling out “Will You Marry Me” using the dead bodies strewn on a Normandy-like beach. Gurewitch says he’s chosen to publish online because, “I should not excuse myself from the downfall of the rest of civilization.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comics I read when I was a kid had glossy covers and carpaccio thin pages with somewhat smudged illustrations, not that I ever minded. I revered them and still have a collection of dozens. Now I’m all grown up — and so is Archie. He has even \u003ca href=\"http://www.cnn.com/2009/SHOWBIZ/books/05/28/comic..book.archie.marrying/index.html\" target=\"offiste\" rel=\"noopener\">proposed to Veronica\u003c/a>. Thanks to the web, comic writers can reach a much larger audience, create work in their own time, and bypass any creative constraints of a publisher or editor. The “Monsters” are out and on display at the Cartoon Art Museum. I still miss the musty smell of comic books though.\u003c/p>\n\u003cp>Very cool heads up: Nicholas Gurewitch of \u003cb>The Perry Bible Fellowship\u003c/b> fame will be at the Cartoon Art Museum Friday, August 28, 2009 from 7-9pm to discuss his creative process. Q & A to follow! Call 415-227-8666, ext 313 for reservations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Monsters of Webcomics\u003c/b> is up through December 9, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>These days, phrases like “global warming” and “climate change” seem to have lost their edge. Once we get past the increasingly silly debate over whether or not the threat is real, it seems like the problem and its causes are just too huge for any one person to grasp. Start talking about carbon footprints or cap-and-trade agreements and the general populace decides that this is all way too confusing and changes the channel to something along the lines of VH1’s \u003ca href=\"http://www.vh1.com/shows/series/rock_of_love_charm_school/\">Rock of Love Charm School\u003c/a> (oh no she didn’t!!!).\u003c/p>\n\u003cp>Christel Dillbohner’s work forces us to change the channel back. While it might not be the stuff of VH1’s \u003cb>Celebreality\u003c/b>, it offers something that is too often missing from any discussion about the environment: an expression of one’s personal relationship with Planet Earth. No longer is the idea of climate change some nebulous concept; with Dillbohner’s work it becomes an experience filled with texture and movement. Dillbohner has said that the idea of a journey is central to her artwork, and that philosophy is apparent in \u003cb>Ice Floe\u003c/b>, her latest exhibition at the San Jose Institute of Contemporary Art.\u003c/p>\n\u003cp>\u003cb>Ice Floe\u003c/b> is a site-specific installation of thousands of pigment-dipped cones that is meant to conjure images of melting ice packs in the Arctic. It is a multi-sensory experience, described by the artists as a “three-dimensional painting.” Bright blues and greens disappear into pure whites and the entire installation can move with the slightest influx of air, or with a haphazard brush by a patron. The physical quality of the installation inherently makes it more personal; any given person’s presence forces this piece into a new direction, beautifully mirroring an individual’s impact on their environment.\u003c/p>\n\u003cp>Another Dillbohner installation, \u003cb>Arctic Circle\u003c/b>, consists of nine panels of framed assemblages placed side-by-side. This arrangement suggests some sort of chronology, another journey that flows like the imagined ice pack on the floor below. These panels are filled with natural objects, like dried flowers found near Dillbohner’s studio in Berkeley. However, the wax covering over the panels dilutes these images, creating a barren landscape. Like the cones in \u003cb>Ice Floe\u003c/b>, these panels are textural, strangely inviting the viewer to come inside the arctic world that Dillbohner has created.\u003c/p>\n\u003cp>\u003cb>Polar Journey\u003c/b>, a collection of 62 monoprints Dillbohner created during a two-week residency at ICA, invite visions of a dreamy passage through a forsaken land. Again, the tactile nature of the display offers a relatable and tangible representation of a part of the world that is rapidly slipping away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I find it really exciting to see artists like Dillbohner address this subject matter in such a finessed, yet accessible way. And she’s not the only one! The exhibition in SJICA’s main gallery, called \u003cb>NextNew: Green\u003c/b>, features more perspectives on environmental issues in really interesting mediums (raise your hand if you like Frankenstein-esque bird creations made from parts of different children’s toys… that chirp).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris Dillbohner: Ice Floe\u003c/b> is on display at the San Jose Institute of Contemporary Art through September 20, 2009. For \u003ca href=\"http://www.sjica.org/exhibitions/Dillbohner_Christel/Christel_Dillbohner.html\">more information\u003c/a> visit sjica.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, phrases like “global warming” and “climate change” seem to have lost their edge. Once we get past the increasingly silly debate over whether or not the threat is real, it seems like the problem and its causes are just too huge for any one person to grasp. Start talking about carbon footprints or cap-and-trade agreements and the general populace decides that this is all way too confusing and changes the channel to something along the lines of VH1’s \u003ca href=\"http://www.vh1.com/shows/series/rock_of_love_charm_school/\">Rock of Love Charm School\u003c/a> (oh no she didn’t!!!).\u003c/p>\n\u003cp>Christel Dillbohner’s work forces us to change the channel back. While it might not be the stuff of VH1’s \u003cb>Celebreality\u003c/b>, it offers something that is too often missing from any discussion about the environment: an expression of one’s personal relationship with Planet Earth. No longer is the idea of climate change some nebulous concept; with Dillbohner’s work it becomes an experience filled with texture and movement. Dillbohner has said that the idea of a journey is central to her artwork, and that philosophy is apparent in \u003cb>Ice Floe\u003c/b>, her latest exhibition at the San Jose Institute of Contemporary Art.\u003c/p>\n\u003cp>\u003cb>Ice Floe\u003c/b> is a site-specific installation of thousands of pigment-dipped cones that is meant to conjure images of melting ice packs in the Arctic. It is a multi-sensory experience, described by the artists as a “three-dimensional painting.” Bright blues and greens disappear into pure whites and the entire installation can move with the slightest influx of air, or with a haphazard brush by a patron. The physical quality of the installation inherently makes it more personal; any given person’s presence forces this piece into a new direction, beautifully mirroring an individual’s impact on their environment.\u003c/p>\n\u003cp>Another Dillbohner installation, \u003cb>Arctic Circle\u003c/b>, consists of nine panels of framed assemblages placed side-by-side. This arrangement suggests some sort of chronology, another journey that flows like the imagined ice pack on the floor below. These panels are filled with natural objects, like dried flowers found near Dillbohner’s studio in Berkeley. However, the wax covering over the panels dilutes these images, creating a barren landscape. Like the cones in \u003cb>Ice Floe\u003c/b>, these panels are textural, strangely inviting the viewer to come inside the arctic world that Dillbohner has created.\u003c/p>\n\u003cp>\u003cb>Polar Journey\u003c/b>, a collection of 62 monoprints Dillbohner created during a two-week residency at ICA, invite visions of a dreamy passage through a forsaken land. Again, the tactile nature of the display offers a relatable and tangible representation of a part of the world that is rapidly slipping away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I find it really exciting to see artists like Dillbohner address this subject matter in such a finessed, yet accessible way. And she’s not the only one! The exhibition in SJICA’s main gallery, called \u003cb>NextNew: Green\u003c/b>, features more perspectives on environmental issues in really interesting mediums (raise your hand if you like Frankenstein-esque bird creations made from parts of different children’s toys… that chirp).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris Dillbohner: Ice Floe\u003c/b> is on display at the San Jose Institute of Contemporary Art through September 20, 2009. For \u003ca href=\"http://www.sjica.org/exhibitions/Dillbohner_Christel/Christel_Dillbohner.html\">more information\u003c/a> visit sjica.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 heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. Armed with one camera and a microphone, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I headed to Michael Rosenthal Gallery, which is nearing its one-year anniversary in The Mission. We were excited to see LA Artist \u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>‘s embroidered masterpieces (a crowd favorite), and we were also determined to find out what was up with the group show’s perplexing title, \u003cb>Annual Biennial\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/michael-rosenthal.jpg\">\u003c/p>\n\u003cp>\u003cb>Michael Rosenthal, Gallery Owner\u003c/b>\u003cbr>“The Annual Bienial is a celebration of all the great artists that I get to work with. We have Megan Whitmarsh’s work, Jane Fine from New York, and a whole host of people who I really love working with. I love anything that’s ironic so I thought of that name [Annual Biennial] and I thought, ‘Why not make people confused if I can?’ And I don’t do anything straightforward so it’s an example of my humor.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/megan-whitmarsh.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>, Annual Biennial Artist\u003c/b>\u003cbr>“I want to make things because I can’t help it, but at the same time I feel sort of freaked out by how much stuff there is in the world, so when I do make stuff I want to be really conscious about it and I want to contribute to the beauty and optimism of the world. I was a big fan of \u003cb>The Muppet Show\u003c/b> as a kid and, when I moved to New York, I saw the pilot at the Museum of Television and Radio and it was the first time I saw it as art rather than just a TV show. I realized that just by really believing in your own eccentric, weird vision you can express what you’re feeling to other people and it radiates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/adrianna-carillo.jpg\">\u003c/p>\n\u003cp>\u003cb>Adrianna Carillo next to a painting by her husband, \u003ca href=\"http://www.neoimages.net/artistportfolio.aspx?pid=1765\" target=\"offsite\" rel=\"noopener\">Carl Auge\u003c/a>\u003c/b>\u003cbr>“I miss this being above my fireplace. I like it because Carl doesn’t use these colors very often. This is an image he’s used a number of times, but in this bright color it looks really different. When people see it, sometimes they don’t know what it is. People will either say it’s a building or a dock because the colors make them think of water, but it’s actually a pyramid from Northern Africa.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-vreeburg.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Vreeburg and Bailey the Wonderdog\u003c/b>\u003cbr>“I like [Emily Sevier’s paintings] because I liked being naked myself. The one on the right reminds me of the John Lennon Rolling Stone cover and other than that I just like naked people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/caitlin-denny.jpg\">\u003c/p>\n\u003cp>\u003cb>Caitlin Denny [right] with Maureen Mulhern, Rosenthal Gallery staff\u003c/b>\u003cbr>“My favorite is Megan Whitmarsh’s \u003cb>Color Dance Bomb\u003c/b> [pictured below]; the layers are so spectacular, it just jumps out at you, it’s a fun piece.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/matt-furie.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.mattfurie.com/\" target=\"offsite\" rel=\"noopener\">Matt Furie\u003c/a>, local artist showing at \u003ca href=\"http://www.gr-sf.com/\" target=\"offsite\" rel=\"noopener\">Giant Robot Gallery\u003c/a> later this month\u003c/b>\u003cbr>“I came here to see my friend Megan’s artwork. I actually just showed with her down in LA at the \u003ca href=\"http://www.newimageartgallery.com/\" target=\"offiste\" rel=\"noopener\">New Image Art gallery\u003c/a>. I’m really excited about her work, I like the painstaking embroidery and the different characters.”\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/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"excerpt": "The tables have turned: instead of telling you what we think about art shows, we're heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. We headed to Michael Rosenthal Gallery to find out what exactly is an \u003cb>Annual Biennial\u003c/b>.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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