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"content": "\u003cp>Here’s an early Easter-egg hunt for you (or a belated one): Americans for the Arts just released the \u003cb>Top 40 list\u003c/b> of their favorite United States public art projects, and we in the Bay managed to impress the judges enough to have three projects nominated: \u003ca href=\"http://www.metaphorm.org/pages/portfolio/LanguageBirds.html\">Language of the Birds\u003c/a>, \u003ca href=\"http://here2day.netwiz.net/seyedsite/publicart/signsofthetimes/signsofthetimesframe.html\">Signs of the Times\u003c/a>, and \u003ca href=\"http://www.jdbeltran.com/JD_Beltran/Downtown_Mirror.html\">Downtown Mirror\u003c/a>. I tried to contact Janet Echelman at Harvard (judge the first) and Mildred Howard at SFAI (judge the second) for information on why they chose these pieces in particular, but Howard did not respond, and the response I got was from Echelman was a little too generic (something about choosing the ‘best quality art’), so this is my slapdash version.\u003c/p>\n\u003cp>Actually, I’m going to borrow an adjective that Echelman uses for \u003ca href=\"http://www.echelman.com/index.html\">her own work\u003c/a>: “immersive.” Starting with the maxim that we tend to like our own reflection best, it doesn’t surprise me that ‘immersive’ also describes the nominated works, which are at their most interesting when attention is paid to how each work occupies — and is influenced by — its surroundings.\u003c/p>\n\u003cp>Brian Goggin and Dorka Keen’s \u003cb>Language of the Birds\u003c/b>, captures this quality on a lot of levels at once. In fact, if you haven’t seen the work, it’s probably because it blends in so well with \u003ca href=\"http://www.sfnorthbeach.org/mural/index.html\">Bill Weber’s mural\u003c/a> (at the intersection of Broadway and Columbus in San Francisco). From a distance, the work looks like part of the mural, but closer up it becomes a tangle of telephone wire, blank white books and words. The text is scattered all over the pavement, and you move between the books and their former content as you cross the sidewalk. At night — if the solar panels are working — the books light up, and your shadow obscures the text. Like I said, immersion on many levels.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/langbirds.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>This adjective works for the next project, too — Emeryville’s \u003cb>Signs of the Times\u003c/b>, a collaboration between Seyed Alavi and a small cadre of students from Emery High. The boxes are all over Shellmound, Hollis and 40th Streets in Emeryville; if you’ve passed a bright yellow utility box with a DOT pedestrian figure on it doing un-DOT-pedestrian-figure-like things, then you’ve seen \u003cb>Signs of the Times\u003c/b>. Alavi is an installation artist who typically uses a lot of material to surround his viewers, so at first I was surprised that each box appears so singular and individual. As I got involved with the piece, however, I realized that the installation was the sum of all its parts, including \u003ca href=\"http://here2day.netwiz.net/seyedsite/publicart/signsofthetimes/signsofthetimesframe.html\">every gesture\u003c/a> that a pedestrian might make. Much like with a real community, we influence and are influenced by our neighbors, whether we realize it or not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/signs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The final piece, \u003cb>Downtown Mirror\u003c/b>, by artists JD Beltran and Scott Minneman, is no longer available for viewing, but luckily I found some San Jose residents who’d seen it and were able to describe their experiences. Beltran and Minneman set up video displays showing contemporary and historic footage of San Jose, as much as possible “mirroring” external circumstances — including a shot of the downtown light rail arriving at the station which would often sync up with the real-world occurrence and startle pedestrians. While I didn’t have a chance to see the project, Ruben Guerrero (the property manager for the Globe, which manages one of the storefronts), told me that he liked the artists’ play on the idea of mirroring, and seemed particularly excited about the moments when the ‘reflections’ were made up of archival images and texts.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/downtown-mirror.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After a few days spent hunting down and experiencing these works, which I found totally enjoyable, what I’ve gleaned from Howard and Echelman’s choices is this: the trend is the same everywhere, whether you want to call it participation or immersion. Thanks to minimalism, 1970’s institutional criticism, and the internet, nobody’s interested in commemorative sculpture, particularly not in heroes on horses. And what I like best about this is the fact that we now have a new way of looking, able to be applied to everything that came before.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s an early Easter-egg hunt for you (or a belated one): Americans for the Arts just released the \u003cb>Top 40 list\u003c/b> of their favorite United States public art projects, and we in the Bay managed to impress the judges enough to have three projects nominated: \u003ca href=\"http://www.metaphorm.org/pages/portfolio/LanguageBirds.html\">Language of the Birds\u003c/a>, \u003ca href=\"http://here2day.netwiz.net/seyedsite/publicart/signsofthetimes/signsofthetimesframe.html\">Signs of the Times\u003c/a>, and \u003ca href=\"http://www.jdbeltran.com/JD_Beltran/Downtown_Mirror.html\">Downtown Mirror\u003c/a>. I tried to contact Janet Echelman at Harvard (judge the first) and Mildred Howard at SFAI (judge the second) for information on why they chose these pieces in particular, but Howard did not respond, and the response I got was from Echelman was a little too generic (something about choosing the ‘best quality art’), so this is my slapdash version.\u003c/p>\n\u003cp>Actually, I’m going to borrow an adjective that Echelman uses for \u003ca href=\"http://www.echelman.com/index.html\">her own work\u003c/a>: “immersive.” Starting with the maxim that we tend to like our own reflection best, it doesn’t surprise me that ‘immersive’ also describes the nominated works, which are at their most interesting when attention is paid to how each work occupies — and is influenced by — its surroundings.\u003c/p>\n\u003cp>Brian Goggin and Dorka Keen’s \u003cb>Language of the Birds\u003c/b>, captures this quality on a lot of levels at once. In fact, if you haven’t seen the work, it’s probably because it blends in so well with \u003ca href=\"http://www.sfnorthbeach.org/mural/index.html\">Bill Weber’s mural\u003c/a> (at the intersection of Broadway and Columbus in San Francisco). From a distance, the work looks like part of the mural, but closer up it becomes a tangle of telephone wire, blank white books and words. The text is scattered all over the pavement, and you move between the books and their former content as you cross the sidewalk. At night — if the solar panels are working — the books light up, and your shadow obscures the text. Like I said, immersion on many levels.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/langbirds.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>This adjective works for the next project, too — Emeryville’s \u003cb>Signs of the Times\u003c/b>, a collaboration between Seyed Alavi and a small cadre of students from Emery High. The boxes are all over Shellmound, Hollis and 40th Streets in Emeryville; if you’ve passed a bright yellow utility box with a DOT pedestrian figure on it doing un-DOT-pedestrian-figure-like things, then you’ve seen \u003cb>Signs of the Times\u003c/b>. Alavi is an installation artist who typically uses a lot of material to surround his viewers, so at first I was surprised that each box appears so singular and individual. As I got involved with the piece, however, I realized that the installation was the sum of all its parts, including \u003ca href=\"http://here2day.netwiz.net/seyedsite/publicart/signsofthetimes/signsofthetimesframe.html\">every gesture\u003c/a> that a pedestrian might make. Much like with a real community, we influence and are influenced by our neighbors, whether we realize it or not.\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/signs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The final piece, \u003cb>Downtown Mirror\u003c/b>, by artists JD Beltran and Scott Minneman, is no longer available for viewing, but luckily I found some San Jose residents who’d seen it and were able to describe their experiences. Beltran and Minneman set up video displays showing contemporary and historic footage of San Jose, as much as possible “mirroring” external circumstances — including a shot of the downtown light rail arriving at the station which would often sync up with the real-world occurrence and startle pedestrians. While I didn’t have a chance to see the project, Ruben Guerrero (the property manager for the Globe, which manages one of the storefronts), told me that he liked the artists’ play on the idea of mirroring, and seemed particularly excited about the moments when the ‘reflections’ were made up of archival images and texts.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/downtown-mirror.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After a few days spent hunting down and experiencing these works, which I found totally enjoyable, what I’ve gleaned from Howard and Echelman’s choices is this: the trend is the same everywhere, whether you want to call it participation or immersion. Thanks to minimalism, 1970’s institutional criticism, and the internet, nobody’s interested in commemorative sculpture, particularly not in heroes on horses. And what I like best about this is the fact that we now have a new way of looking, able to be applied to everything that came before.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the problems with art that riffs on the products of popular culture is that it rarely does more than scratch the celluloid surface. In most cases, cultural icons such as cartoon characters are presented to the viewer with deliberate, detached blandness, designed to elicit ironic, knowing, huffs and sneers.\u003c/p>\n\u003cp>Todd Schorr, whose exhibition titled \u003cb>American Surreal\u003c/b> is on view through September 16, 2009 at the San Jose Museum of Art, is the sort of artist whose work makes you gasp. His intricately detailed acrylic-on-canvas paintings drill deep beneath the surfaces of his familiar subjects, creating Daliesque scenes that suggest an autopsy gone terribly wrong at Toontown General, where a shipment of leaking ether bottles has caused the visions before us to swirl and morph, at once impossibly beautiful and hideously grotesque.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/schorr-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The show begins with a collection of paintings and smaller pieces from the 1990s. Do yourself a favor and return to these early pieces after you complete your tour of the exhibition. That way you’ll fully appreciate the arc of Schorr’s work (more on that later). One piece, “She Was Charmed By His Outward Appearance,” 1993, depicts an elegant woman in white accompanied by a dapper man in a well-tailored suit. He is showing her around his well-appointed domicile, and she is so charmed by him and everything he seems to stand for that she does not even notice the peeling paint on the walls, let alone the fact that his upper body is connected to a single, thick tentacle that leads to another room. There a leering, toothy, drooling creature lays in wait, presumably to devour this latest victim of its humanoid appendage’s wiles.\u003c/p>\n\u003cp>In this painting and others like “Greetings from Boney Island,” 1992, every square millimeter of Schorr’s surfaces are lovingly caressed by the artist’s fine brush. No detail is too mundane, be it the cracks in a piece of fading plastic to the day-glo orange flames that have exploded where the bumper cars of two skeletons enjoying a day out at the amusement park have collided.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is all brilliant stuff, and an absolute joy to behold, but Schorr outdoes himself in paintings such as “The Spectre of Cartoon Appeal,” 2000, “A Pirate’s Treasure Dream,” 2006, and “Parade of the Damned,” 2004. In the first piece, Schorr has created a cartoon version of Vishnu sporting the heads of Tex Avery’s Wolf, Walt Disney’s Mickey Mouse, and E.C. Segar’s Popeye. Fire combusts spontaneously around this three-headed hydra, while a distorted and maniacal Koko the Clown invites us into the spectacle like a carny at a sideshow.\u003c/p>\n\u003cp>As it happens, there’s a sideshow here, too, a pair of them, in fact. Elsewhere in the painting, mechanical toys and fever-dream versions of cartoon characters have come to life. Anchoring the piece, at the base of Schorr’s cartoon Vishnu, is a bleary-eyed Betty Boop, who stares back at us like a drunk on day-eight of a wicked bender. And standing before her, taking it all in, is a small boy (the artist, we may assume), his back to us and a book titled “Toon Art” in his young hands. Capturing this scene is the lad’s challenge. Schorr, it turns out, is more than up to it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/schorr-3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The rest of the exhibition continues in this vein, with painting after painting of such bewildering complexity and intensity that absorbing absolutely everything may cause heads to explode. There are lovely small pieces like “Extinction of a Love Affair,” 2003, in which a busty and curvaceous cat has just sent her ex-lover, a dog, to his doom in the La Brea Tar Pits. I just loved the look of terror in his bulldog eyes as his human hands futilely clutch at thin air. There’s also a gallery devoted to several ape paintings, the centerpiece of which is “Ape Worship,” 2008, which features four different versions of King Kong battling T-Rex on Skull Island (there’s the event itself, a gorilla painting a cubist version of the scene, a magician conjuring puppets engaged in the same fight, and Schorr as a young boy watching the black-and-white original on an old TV).\u003c/p>\n\u003cp>Which brings us to that arc I mentioned earlier. If the pieces at the beginning of the exhibition are like one-liners, it’s sort of the same thing by the show’s end. But instead of filling every last pinpoint of his paintings with detail, Schorr is content to tell one story well, and to let that story play itself out against, say, an expanse of sky. The result is a level of focus that pieces like “Spectre” and “Treasure Dream” lack. Which is not to say that one is preferable to another — they are just different. I found plenty to love in all phases of Schorr’s career. In fact, I may risk my own exploding head and go back for a second or third look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Todd Schorr: American Surreal\u003c/b> runs through September 16, 2009 at San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org/index.html\">information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the problems with art that riffs on the products of popular culture is that it rarely does more than scratch the celluloid surface. In most cases, cultural icons such as cartoon characters are presented to the viewer with deliberate, detached blandness, designed to elicit ironic, knowing, huffs and sneers.\u003c/p>\n\u003cp>Todd Schorr, whose exhibition titled \u003cb>American Surreal\u003c/b> is on view through September 16, 2009 at the San Jose Museum of Art, is the sort of artist whose work makes you gasp. His intricately detailed acrylic-on-canvas paintings drill deep beneath the surfaces of his familiar subjects, creating Daliesque scenes that suggest an autopsy gone terribly wrong at Toontown General, where a shipment of leaking ether bottles has caused the visions before us to swirl and morph, at once impossibly beautiful and hideously grotesque.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/schorr-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The show begins with a collection of paintings and smaller pieces from the 1990s. Do yourself a favor and return to these early pieces after you complete your tour of the exhibition. That way you’ll fully appreciate the arc of Schorr’s work (more on that later). One piece, “She Was Charmed By His Outward Appearance,” 1993, depicts an elegant woman in white accompanied by a dapper man in a well-tailored suit. He is showing her around his well-appointed domicile, and she is so charmed by him and everything he seems to stand for that she does not even notice the peeling paint on the walls, let alone the fact that his upper body is connected to a single, thick tentacle that leads to another room. There a leering, toothy, drooling creature lays in wait, presumably to devour this latest victim of its humanoid appendage’s wiles.\u003c/p>\n\u003cp>In this painting and others like “Greetings from Boney Island,” 1992, every square millimeter of Schorr’s surfaces are lovingly caressed by the artist’s fine brush. No detail is too mundane, be it the cracks in a piece of fading plastic to the day-glo orange flames that have exploded where the bumper cars of two skeletons enjoying a day out at the amusement park have collided.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is all brilliant stuff, and an absolute joy to behold, but Schorr outdoes himself in paintings such as “The Spectre of Cartoon Appeal,” 2000, “A Pirate’s Treasure Dream,” 2006, and “Parade of the Damned,” 2004. In the first piece, Schorr has created a cartoon version of Vishnu sporting the heads of Tex Avery’s Wolf, Walt Disney’s Mickey Mouse, and E.C. Segar’s Popeye. Fire combusts spontaneously around this three-headed hydra, while a distorted and maniacal Koko the Clown invites us into the spectacle like a carny at a sideshow.\u003c/p>\n\u003cp>As it happens, there’s a sideshow here, too, a pair of them, in fact. Elsewhere in the painting, mechanical toys and fever-dream versions of cartoon characters have come to life. Anchoring the piece, at the base of Schorr’s cartoon Vishnu, is a bleary-eyed Betty Boop, who stares back at us like a drunk on day-eight of a wicked bender. And standing before her, taking it all in, is a small boy (the artist, we may assume), his back to us and a book titled “Toon Art” in his young hands. Capturing this scene is the lad’s challenge. Schorr, it turns out, is more than up to it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/schorr-3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The rest of the exhibition continues in this vein, with painting after painting of such bewildering complexity and intensity that absorbing absolutely everything may cause heads to explode. There are lovely small pieces like “Extinction of a Love Affair,” 2003, in which a busty and curvaceous cat has just sent her ex-lover, a dog, to his doom in the La Brea Tar Pits. I just loved the look of terror in his bulldog eyes as his human hands futilely clutch at thin air. There’s also a gallery devoted to several ape paintings, the centerpiece of which is “Ape Worship,” 2008, which features four different versions of King Kong battling T-Rex on Skull Island (there’s the event itself, a gorilla painting a cubist version of the scene, a magician conjuring puppets engaged in the same fight, and Schorr as a young boy watching the black-and-white original on an old TV).\u003c/p>\n\u003cp>Which brings us to that arc I mentioned earlier. If the pieces at the beginning of the exhibition are like one-liners, it’s sort of the same thing by the show’s end. But instead of filling every last pinpoint of his paintings with detail, Schorr is content to tell one story well, and to let that story play itself out against, say, an expanse of sky. The result is a level of focus that pieces like “Spectre” and “Treasure Dream” lack. Which is not to say that one is preferable to another — they are just different. I found plenty to love in all phases of Schorr’s career. In fact, I may risk my own exploding head and go back for a second or third look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Todd Schorr: American Surreal\u003c/b> runs through September 16, 2009 at San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org/index.html\">information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If these paintings could talk, I’m pretty sure they’d tell me to piss off. But after that, I bet they’d hand me a stapled ‘zine, black and white all retro style circa 1993, and invite me to a show in a warehouse for that night. They’d glare at me and then we’d share a potluck meal in a public park. This is the tension — a push-pull between invitation and rejection, engagement and scorn, optimism and nihilism — that runs through \u003cb>New World Boredom (Novus Taedium Seclorum),\u003c/b> an exhibit of paintings by James Bradley and Erin Allen on view at Maniac Gallery through July 31, 2009.\u003c/p>\n\u003cp>The work is a little messy and a little mean. Bradley and Allen, both recent graduates of the MFA program at California College of the Arts and both originally from the Los Angeles area, use text and rough gestures to address, disturb, and occasionally amuse the viewer. Bradley favors references from literature and philosophy; Allen takes his from pop culture. Both make paintings that take on big ideas but purposely undermine their seriousness.\u003c/p>\n\u003cp>In “The Likelihood of a Terrorist Strike in My Bedroom,” Bradley has painted a large canvas with maroons and blues, visible brush strokes, and the words, “My problems are so metaphysical it’s embarrassing.” It paraphrases a quote from Jean Paul Sartre (I didn’t know this, the artist told me) and epitomizes the contradictions this work revels in. Because there’s nothing metaphysical about the painting — it’s crude and the tones are rich and the letters drip paint. It exists solely as a physical object, no “meta” involved. In “Portrait of Melvil Dewey No. 3,” also by Bradley, white squiggles, a little like cake frosting, a little like airplane trails, coarse over an obscured portrait underneath. Dewey, the father of the organizational system structuring our libraries’ shelves, has gotten a pie in the face. The initial act of portraiture is reverential, the follow-up flippant.\u003c/p>\n\u003cp>Allen’s work follows a similar trajectory. In “Untitled (After ‘Butt is it art?’),” the viewer is confronted with a recognizable figure. The back of Beavis’s yellow head is set against an abstract painting. He’s thinking about whether the painting is “art” or not. Oh wait, it’s Beavis. He’s not thinking about anything. The painting addresses a big idea (the constantly changing definition of “art”) but then makes a joke out of it. (See comment on reverence and flippancy, above paragraph.)\u003c/p>\n\u003cp>But some of Allen’s work feels less like a joke, more like a disappointed decree, and this is the work I like best. “Never Forgive” consists of a black Christmas tree against a gray background, the painting’s title written above it. It’s beautiful and I’m not sure why. Maybe because it inverts Christmas and its meaning; or maybe because it feels like a well-earned and bitter sentiment. You don’t reach such a sad and forceful conclusion if you didn’t first believe that forgiveness was possible. It’s like a fall from grace, and the glimpse of earnestness hits you in your gut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t know if I’ve made this clear: there’s something about both artists’ work I love. Mostly for the way it pretends to be about nothing but makes you feel something. Or for those rare instances in which emotion edges through the sarcasm. It’s like those kids dressed in black who hung out on the far edge of the soccer field during junior high lunch. They want you to look at them, but they don’t want you to understand them. And they certainly don’t want you to know what they’re really thinking or feeling. But you see, the less I understand and the less I know, the more I want to look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New World Boredom (Novus Taedium Seclorum),\u003c/b> is on display at Maniac Gallery, 387 17th Street, No. 204, Oakland, through Friday, July 31, 2009. The gallery is open Saturday and Sunday and by appointment. For more information, call 510-388-4417 or go to www.maniacgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If these paintings could talk, I’m pretty sure they’d tell me to piss off. But after that, I bet they’d hand me a stapled ‘zine, black and white all retro style circa 1993, and invite me to a show in a warehouse for that night. They’d glare at me and then we’d share a potluck meal in a public park. This is the tension — a push-pull between invitation and rejection, engagement and scorn, optimism and nihilism — that runs through \u003cb>New World Boredom (Novus Taedium Seclorum),\u003c/b> an exhibit of paintings by James Bradley and Erin Allen on view at Maniac Gallery through July 31, 2009.\u003c/p>\n\u003cp>The work is a little messy and a little mean. Bradley and Allen, both recent graduates of the MFA program at California College of the Arts and both originally from the Los Angeles area, use text and rough gestures to address, disturb, and occasionally amuse the viewer. Bradley favors references from literature and philosophy; Allen takes his from pop culture. Both make paintings that take on big ideas but purposely undermine their seriousness.\u003c/p>\n\u003cp>In “The Likelihood of a Terrorist Strike in My Bedroom,” Bradley has painted a large canvas with maroons and blues, visible brush strokes, and the words, “My problems are so metaphysical it’s embarrassing.” It paraphrases a quote from Jean Paul Sartre (I didn’t know this, the artist told me) and epitomizes the contradictions this work revels in. Because there’s nothing metaphysical about the painting — it’s crude and the tones are rich and the letters drip paint. It exists solely as a physical object, no “meta” involved. In “Portrait of Melvil Dewey No. 3,” also by Bradley, white squiggles, a little like cake frosting, a little like airplane trails, coarse over an obscured portrait underneath. Dewey, the father of the organizational system structuring our libraries’ shelves, has gotten a pie in the face. The initial act of portraiture is reverential, the follow-up flippant.\u003c/p>\n\u003cp>Allen’s work follows a similar trajectory. In “Untitled (After ‘Butt is it art?’),” the viewer is confronted with a recognizable figure. The back of Beavis’s yellow head is set against an abstract painting. He’s thinking about whether the painting is “art” or not. Oh wait, it’s Beavis. He’s not thinking about anything. The painting addresses a big idea (the constantly changing definition of “art”) but then makes a joke out of it. (See comment on reverence and flippancy, above paragraph.)\u003c/p>\n\u003cp>But some of Allen’s work feels less like a joke, more like a disappointed decree, and this is the work I like best. “Never Forgive” consists of a black Christmas tree against a gray background, the painting’s title written above it. It’s beautiful and I’m not sure why. Maybe because it inverts Christmas and its meaning; or maybe because it feels like a well-earned and bitter sentiment. You don’t reach such a sad and forceful conclusion if you didn’t first believe that forgiveness was possible. It’s like a fall from grace, and the glimpse of earnestness hits you in your gut.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t know if I’ve made this clear: there’s something about both artists’ work I love. Mostly for the way it pretends to be about nothing but makes you feel something. Or for those rare instances in which emotion edges through the sarcasm. It’s like those kids dressed in black who hung out on the far edge of the soccer field during junior high lunch. They want you to look at them, but they don’t want you to understand them. And they certainly don’t want you to know what they’re really thinking or feeling. But you see, the less I understand and the less I know, the more I want to look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New World Boredom (Novus Taedium Seclorum),\u003c/b> is on display at Maniac Gallery, 387 17th Street, No. 204, Oakland, through Friday, July 31, 2009. The gallery is open Saturday and Sunday and by appointment. For more information, call 510-388-4417 or go to www.maniacgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a tension present in the contemporary art world, centered around the use of the art object as mediator between the audience and the artistic experience. Some artists use traditional materials as their primary mode of communication, others use nothing but communal experience. \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=17&activeType=nonNestGall/\">SMITHS\u003c/a>, a new storefront project in Oakland, sets out to straddle this gap by offering community-building experiences centered around the work of master Bay Area crafts men and women.\u003c/p>\n\u003cp>SMITHS is a unique project for the Bay Area: part-artist’s studio, part-workshop, and part-general store. The name is a play on words — “smith” means maker, as well as being the last name of the store’s proprietress, \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=11&activeType=nonNestGall?\">Allison Smith\u003c/a>. Each month Smith — and SMITHS — will host a resident maker, featuring crafts like beekeeping, quilting, and letterpress printing, as well as a variety of activities loosely woven around that particular skill, all open to the public.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-portrait.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The detritus of the first activity — an indigo dyeing event with artist \u003ca href=\"http://www.youtube.com/watch?v=qkja2S4JwrE\">Travis Boyer\u003c/a> — was still present when I stopped by; the event drew in about fifty people, and sounds absolutely magical. Since I missed the main event, and the next one won’t be until September, I had to content myself with picking Smith’s brain about her interest in craft and her hopes for the project.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-fabric.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> When do you start looking at craft?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> My interest with craft grew out of a series of projects I did involving the culture of historical re-enactments. I was born in Virginia and grew up close to a variety of sites where history was being performed via activities of making. In art school in the early ’90s, I decided to take on the role of anthropologist to my own culture by conducting an ethnography of the Civil War re-enactment community.\u003c/p>\n\u003cp>Ultimately I found myself fascinated by the objects — all of the cottage industries that have grown up around making all of the props that go into staging a reenactment. There’s an incredible attention to detail; the better the craftsmanship and more authentic the process, the more opportunity you have for actual time travel. I also got really interested in the idea of these large scale events that are made up of tiny hand made details.\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> It seems like you’re still playing anthropologist in some way, investigating the concept of the general store.\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Well, I really like the idea of a general store as a point of contact or exchange, and not just for material goods [it should be noted that the project is not geared toward selling merchandise, although eventually Smith would like to see some of the workshop results on the shelves]. Historically, general stores weren’t just places where you got your food, but also your information.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-interior.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> So how will it work?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Roughly it’s organized to coincide with First Fridays. There will be a different kind of maker and set of activities each month, with the results on display that First Friday, at which time we’ll also announce the next month’s maker.\u003c/p>\n\u003cp>I want it to be as open as possible, both in terms of the community it attracts and the way we think about making. For the fall, I’ve been developing a cluster of events using Oakland’s quilting community, but I’m also planning a series around the idea of “commune-smithing”… In the spirit of tinsmiths and blacksmiths, there are also tunesmiths, wordsmiths, and conversation-smiths. I want to keep looking at what it means to make.\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Will you actually be offering apprenticeships?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Not exactly. Ideally, the activities will shift on a day-to-day basis. Hopefully people will forge new relationships and continue them outside of the studio. For instance, if someone has always wanted to know about quilting, they can use the space throughout the month, and then they could form their own group that keeps meeting. And hopefully they’ll keep coming back to SMITHS, as well.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-curtain.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> As an art scholar and writer, I can wrap my head around the idea of social sculpture, or social practice, but how do you explain what you’re doing to people who aren’t interested or involved with contemporary art?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Well, for people who aren’t part of that conversation, whether or not it’s “art” just doesn’t matter so much. I enjoy the fact that someone takes pleasure in the tactile aspects, and if they feel welcomed into a conversation they didn’t expect, that’s great, but it’s not the whole point.\u003c/p>\n\u003cp>There can be such a suspicion of objects in the world of social practice, perhaps because sometimes there’s a belief present that the object should be skipped over in order to achieve a more intimate and direct connection with the viewer.\u003c/p>\n\u003cp>What interests me about the tradition of studio craft is the aspect of initial engagement through the hand made and how people project onto that. For example, in this model the object — a quilt, for instance — facilitates a conversation and is the residue of the conversation.\u003c/p>\n\u003cp>I really like the idea that the object and the conversation can’t be separated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-broom.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit the \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=17&activeType=nonNestGall/\">SMITHS\u003c/a> site at allisonsmithstudio.com. For the moment, SMITHS is open by appointment only, with occasional drop-in hours.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a tension present in the contemporary art world, centered around the use of the art object as mediator between the audience and the artistic experience. Some artists use traditional materials as their primary mode of communication, others use nothing but communal experience. \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=17&activeType=nonNestGall/\">SMITHS\u003c/a>, a new storefront project in Oakland, sets out to straddle this gap by offering community-building experiences centered around the work of master Bay Area crafts men and women.\u003c/p>\n\u003cp>SMITHS is a unique project for the Bay Area: part-artist’s studio, part-workshop, and part-general store. The name is a play on words — “smith” means maker, as well as being the last name of the store’s proprietress, \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=11&activeType=nonNestGall?\">Allison Smith\u003c/a>. Each month Smith — and SMITHS — will host a resident maker, featuring crafts like beekeeping, quilting, and letterpress printing, as well as a variety of activities loosely woven around that particular skill, all open to the public.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-portrait.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The detritus of the first activity — an indigo dyeing event with artist \u003ca href=\"http://www.youtube.com/watch?v=qkja2S4JwrE\">Travis Boyer\u003c/a> — was still present when I stopped by; the event drew in about fifty people, and sounds absolutely magical. Since I missed the main event, and the next one won’t be until September, I had to content myself with picking Smith’s brain about her interest in craft and her hopes for the project.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-fabric.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> When do you start looking at craft?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> My interest with craft grew out of a series of projects I did involving the culture of historical re-enactments. I was born in Virginia and grew up close to a variety of sites where history was being performed via activities of making. In art school in the early ’90s, I decided to take on the role of anthropologist to my own culture by conducting an ethnography of the Civil War re-enactment community.\u003c/p>\n\u003cp>Ultimately I found myself fascinated by the objects — all of the cottage industries that have grown up around making all of the props that go into staging a reenactment. There’s an incredible attention to detail; the better the craftsmanship and more authentic the process, the more opportunity you have for actual time travel. I also got really interested in the idea of these large scale events that are made up of tiny hand made details.\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> It seems like you’re still playing anthropologist in some way, investigating the concept of the general store.\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Well, I really like the idea of a general store as a point of contact or exchange, and not just for material goods [it should be noted that the project is not geared toward selling merchandise, although eventually Smith would like to see some of the workshop results on the shelves]. Historically, general stores weren’t just places where you got your food, but also your information.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-interior.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> So how will it work?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Roughly it’s organized to coincide with First Fridays. There will be a different kind of maker and set of activities each month, with the results on display that First Friday, at which time we’ll also announce the next month’s maker.\u003c/p>\n\u003cp>I want it to be as open as possible, both in terms of the community it attracts and the way we think about making. For the fall, I’ve been developing a cluster of events using Oakland’s quilting community, but I’m also planning a series around the idea of “commune-smithing”… In the spirit of tinsmiths and blacksmiths, there are also tunesmiths, wordsmiths, and conversation-smiths. I want to keep looking at what it means to make.\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Will you actually be offering apprenticeships?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Not exactly. Ideally, the activities will shift on a day-to-day basis. Hopefully people will forge new relationships and continue them outside of the studio. For instance, if someone has always wanted to know about quilting, they can use the space throughout the month, and then they could form their own group that keeps meeting. And hopefully they’ll keep coming back to SMITHS, as well.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-curtain.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>D:\u003c/b> As an art scholar and writer, I can wrap my head around the idea of social sculpture, or social practice, but how do you explain what you’re doing to people who aren’t interested or involved with contemporary art?\u003c/p>\n\u003cp>\u003cb>SMITH:\u003c/b> Well, for people who aren’t part of that conversation, whether or not it’s “art” just doesn’t matter so much. I enjoy the fact that someone takes pleasure in the tactile aspects, and if they feel welcomed into a conversation they didn’t expect, that’s great, but it’s not the whole point.\u003c/p>\n\u003cp>There can be such a suspicion of objects in the world of social practice, perhaps because sometimes there’s a belief present that the object should be skipped over in order to achieve a more intimate and direct connection with the viewer.\u003c/p>\n\u003cp>What interests me about the tradition of studio craft is the aspect of initial engagement through the hand made and how people project onto that. For example, in this model the object — a quilt, for instance — facilitates a conversation and is the residue of the conversation.\u003c/p>\n\u003cp>I really like the idea that the object and the conversation can’t be separated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/smiths-broom.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit the \u003ca href=\"http://www.allisonsmithstudio.com/pages.php?content=gallery.php&navGallID=17&activeType=nonNestGall/\">SMITHS\u003c/a> site at allisonsmithstudio.com. For the moment, SMITHS is open by appointment only, with occasional drop-in hours.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Same People, New Context: The African Presence in Mexico",
"headTitle": "Same People, New Context: The African Presence in Mexico | KQED",
"content": "\u003cp>In a multiracial country, and especially in the multiracial Bay Area, we commit the act of race-spotting many times a day. We may not admit it, or even be conscious of it, but out on the streets, our understanding of ethnic affiliation is constantly tested by the hue of a person’s skin, their facial features, their dress, hairstyles, language, gait and stance. But we can only work with the stories we’ve been told; when in doubt, we default a person to identities we’ve already been told exist. We give ourselves no latitude for the unknown.\u003c/p>\n\u003cp>A large section of \u003cb>The African Presence in Mexico: From Yanga to the Present\u003c/b> (at the Oakland Museum through August 23) is a deliberate exercise in race-spotting. After laying out the five-century history of Afro-Mexicans, the exhibition presents us with three galleries of photo-portraiture. In this we are challenged to look at images of people we might otherwise uneasily dismiss as “Mexicans,” a category we breezily equate with “Mestizo,” or mixed Spanish and Native American ancestry. Is that an African eye, mouth, or cheekbone? What is the origin of that headdress, that skirt, that stance?\u003c/p>\n\u003cp>Thoroughly ensconced in fascination — and an undefined guilt — we move into images of culture: carnaval celebrations, dancing, music, masks and costumes. And then we go a step further, into increasingly sophisticated self-querying art: blockprints, lithographs, sculpture and painting. What here is Mexican? What is African? And is there a difference?\u003c/p>\n\u003cp>Originating at Chicago’s National Museum of Mexican Art, \u003cb>The African Presence in Mexico\u003c/b> was inspired by the decreasingly cordial relations between Mexican American and African American communities in the US in the past two decades. Played off one another through demagoguery, through anti-labor policies that impact undocumented immigrants, and through welfare reform policies that impact historically oppressed groups, the two communities slide into more distinct identities, discouraged from remembering or investigating common histories.\u003c/p>\n\u003cp>To counter this alienation, the exhibition reveals a parallel universe south of the border in which black oppression wasn’t so much justified as it was erased, and for well over a century. Featuring significant populations of European settler/conquerors, indigenous “Indians” battling migrant waves and devastating disease, and African slaves, Mexico had similar opportunities to build a racial hierarchy like that of the States. But early laws forbidding the collection of racial data, an absurdly fractured racial caste system, and a revolution centered around (among other things) the uplift of the Mestizo group, led to the disappearance of Afro-Mexicans as a mainstream concept, and the subsuming of oft-substantial African cultural contributions into the mainstream of Mexican culture. It was only with the Quincentennial 1992 that Africans were recognized as the “third root” of Mexican culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By turns a historical exhibition, an art show, and a political treatise, \u003cb>The African Presence in Mexico\u003c/b> displays no embarrassment at its own inconsistency. It makes sense: this is a history and a culture most viewers do not know at all. All this material must be presented so that we understand. And to its credit, the exhibition only shows its hem in the last section, connecting African Americans with Mexico. While the histories of the underground railroad to Mexico, the Seminole/escaped slave colonies in Mexico, and Harlem Renaissance sojourns to the south are fascinating and meaningful, the exhibition fails to make of these disparate moments a strong history of African American/Mexican cooperation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the central point comes through loud and clear: the African component in average Mexican families, mores, arts, and language is incalculable, and much greater than recognized. The lens it turns back on US society — a distorted twin — is startling. We are not finished with our racial history. And no viewer will be finished with the images of this challenging exhibition until long after they’ve left the museum, and the day, behind them.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a multiracial country, and especially in the multiracial Bay Area, we commit the act of race-spotting many times a day. We may not admit it, or even be conscious of it, but out on the streets, our understanding of ethnic affiliation is constantly tested by the hue of a person’s skin, their facial features, their dress, hairstyles, language, gait and stance. But we can only work with the stories we’ve been told; when in doubt, we default a person to identities we’ve already been told exist. We give ourselves no latitude for the unknown.\u003c/p>\n\u003cp>A large section of \u003cb>The African Presence in Mexico: From Yanga to the Present\u003c/b> (at the Oakland Museum through August 23) is a deliberate exercise in race-spotting. After laying out the five-century history of Afro-Mexicans, the exhibition presents us with three galleries of photo-portraiture. In this we are challenged to look at images of people we might otherwise uneasily dismiss as “Mexicans,” a category we breezily equate with “Mestizo,” or mixed Spanish and Native American ancestry. Is that an African eye, mouth, or cheekbone? What is the origin of that headdress, that skirt, that stance?\u003c/p>\n\u003cp>Thoroughly ensconced in fascination — and an undefined guilt — we move into images of culture: carnaval celebrations, dancing, music, masks and costumes. And then we go a step further, into increasingly sophisticated self-querying art: blockprints, lithographs, sculpture and painting. What here is Mexican? What is African? And is there a difference?\u003c/p>\n\u003cp>Originating at Chicago’s National Museum of Mexican Art, \u003cb>The African Presence in Mexico\u003c/b> was inspired by the decreasingly cordial relations between Mexican American and African American communities in the US in the past two decades. Played off one another through demagoguery, through anti-labor policies that impact undocumented immigrants, and through welfare reform policies that impact historically oppressed groups, the two communities slide into more distinct identities, discouraged from remembering or investigating common histories.\u003c/p>\n\u003cp>To counter this alienation, the exhibition reveals a parallel universe south of the border in which black oppression wasn’t so much justified as it was erased, and for well over a century. Featuring significant populations of European settler/conquerors, indigenous “Indians” battling migrant waves and devastating disease, and African slaves, Mexico had similar opportunities to build a racial hierarchy like that of the States. But early laws forbidding the collection of racial data, an absurdly fractured racial caste system, and a revolution centered around (among other things) the uplift of the Mestizo group, led to the disappearance of Afro-Mexicans as a mainstream concept, and the subsuming of oft-substantial African cultural contributions into the mainstream of Mexican culture. It was only with the Quincentennial 1992 that Africans were recognized as the “third root” of Mexican culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By turns a historical exhibition, an art show, and a political treatise, \u003cb>The African Presence in Mexico\u003c/b> displays no embarrassment at its own inconsistency. It makes sense: this is a history and a culture most viewers do not know at all. All this material must be presented so that we understand. And to its credit, the exhibition only shows its hem in the last section, connecting African Americans with Mexico. While the histories of the underground railroad to Mexico, the Seminole/escaped slave colonies in Mexico, and Harlem Renaissance sojourns to the south are fascinating and meaningful, the exhibition fails to make of these disparate moments a strong history of African American/Mexican cooperation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the central point comes through loud and clear: the African component in average Mexican families, mores, arts, and language is incalculable, and much greater than recognized. The lens it turns back on US society — a distorted twin — is startling. We are not finished with our racial history. And no viewer will be finished with the images of this challenging exhibition until long after they’ve left the museum, and the day, behind them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The notes from my trip to \u003ca href=\"http://www.sfcamerawork.org/\">SF Camerawork\u003c/a> last Saturday begin like this: “I’m into the Tom Petty that the desk staff is playing, but not so into Jim Stone.” Stone is one of two \u003ca href=\"http://www.sff.org/programs/awards-programs/art-awards\">James D. Phelan Award\u003c/a> winners given to California-born photographers in recognition of artistic achievement. I’m hoping I don’t have to explain \u003ca href=\"http://www.tompetty.com/\">Tom Petty\u003c/a>.\u003c/p>\n\u003cp>According to the exhibition text, Stone’s oversize portraits of individual Walmart greeters and restaurant owners are meant to elucidate “facets of America’s unusual and complex character,” and showcase themes of “damage, misdirection, isolation and failure.” In reality, they come across as mediocre genre works that do little to flag the attention of your post-John Waters narrator.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.sfcamerawork.org/images/exhibitions/current/phelan2009-2_xl.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Cue Gainsbourg’s \u003ca href=\"http://www.youtube.com/watch?v=ehqvuP_osfE\">Bonnie and Clyde\u003c/a> and cut to the panoramic photographs of Doris Jew Conrath, another Phelan award winner. Conrath has a penchant for photographing the orphan children of strip mall development: espresso drive-throughs and their ilk. At first glance the images are as easy to walk by as their real-world counterparts, until you realize that Conrath has photographed the buildings from a variety of perspectives (front, back, side, etc) and then restitched the images. In the process she subverts your sense of comfort, creating buildings that appear real despite their impossible lighting scenarios and strangely mirrored figures.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/phelan-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The second exhibit, \u003cb>Leaving a Mark\u003c/b>, get its title from the new issue of \u003ca href=\"http://cutterphotozine.com/\">Cutter Photozine\u003c/a>, a local publication whose aesthetic brings to mind the label protopunk, although that may be because at this point the soundtrack had switched to the Velvet Underground. \u003ci>Cutter\u003c/i> features black and white, documentary photographs culled from an open submissions process, and while the individual artistic voices tend to bleed together, the editors use this to their full advantage, creating what amounts to a coherent and energetic artist’s book. In this issue, the marks are physical and psychological, silly and serious: everything from scars and shadows to tattoos and glued-on moustaches\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://cutterphotozine.com/images/getIt_04.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>My biggest complaint is that the installation of the show isn’t nearly as sensititive as the layout of the zine itself. A handful of the photographs have been enlarged and hung, but without attention to the benefits that the original zine format affords: the opposition of specific images, or the pacing of its pages. In the center of the exhibit is a pillar where the bulk of the photographs have been tacked up as 8 x 10s, as well as a couch and coffee table where you can find copies of \u003ci>Cutter\u003c/i>. While I can understand the desire to stick with an informal aesthetic, and some of the photographs are moving on their own, for the most part whatever \u003ci>Cutter\u003c/i> offers in zine form that sets it apart from an undergrad photo course gets lost in this translation.\u003c/p>\n\u003cp>Unfortunately, the same can be said for the last exhibit — the \u003cb>Ersatz Group Exhibition\u003c/b>. It’s a fun series of ideas for an exhibit, particularly in our participatory culture: put out an open call for mail art and invite an honest-to-gosh mail carrier with some burly UPS tattoos to curate for you; promise your participants that you will publish a book of the submitted works via Blurb and make it available as a catalogue-cum-directory; and then sit back and wait for artworks to fill the gallery walls in all their variant shapes, sizes and colors. It’s this last part of the plan that isn’t so successful.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.sfcamerawork.org/images/exhibitions/current/ersatz-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I love \u003ca href=\"http://en.wikipedia.org/wiki/Mail_art\">mail art\u003c/a> — both the tactile and \u003ca href=\"http://www.anonymouspostcard.org/\">electronic variety\u003c/a>. I’ve got boxes full of envelopes made of magazine clippings and postcards created through rounds of exquisite corpse. I also love many of the pieces in the exhibit, from the magnified image of a squashed copper penny to Judy Dater’s re-appropriated fanmail (which eeriely praises her “erotically feminine feet and little, double-jointed toes”). And the accidental rock soundtrack provided by the Camerawork staff while I was there continued to be a bonus, as well.\u003c/p>\n\u003cp>The problem, again, comes down to installation. The works are broken into four different groups and displayed in clusters around the room, making it difficult to focus and hard for any individual piece to stand out, something I think needs to happen for the viewer to get sucked in. I’m not sure what I would do differently, particularly with such challenging parameters, but the presentation of the exhibit leaves much to be desired.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>2009 James D. Phelan Art Award in Photography\u003c/b>, \u003cb>Leaving A Mark\u003c/b>, and the \u003cb>Ersatz Group Exhibition\u003c/b> are all on view at \u003ca href=\"http://www.sfcamerawork.org/\">SF Camerawork\u003c/a>, located at 657 Mission Street in San Francisco, through August 22, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The notes from my trip to \u003ca href=\"http://www.sfcamerawork.org/\">SF Camerawork\u003c/a> last Saturday begin like this: “I’m into the Tom Petty that the desk staff is playing, but not so into Jim Stone.” Stone is one of two \u003ca href=\"http://www.sff.org/programs/awards-programs/art-awards\">James D. Phelan Award\u003c/a> winners given to California-born photographers in recognition of artistic achievement. I’m hoping I don’t have to explain \u003ca href=\"http://www.tompetty.com/\">Tom Petty\u003c/a>.\u003c/p>\n\u003cp>According to the exhibition text, Stone’s oversize portraits of individual Walmart greeters and restaurant owners are meant to elucidate “facets of America’s unusual and complex character,” and showcase themes of “damage, misdirection, isolation and failure.” In reality, they come across as mediocre genre works that do little to flag the attention of your post-John Waters narrator.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.sfcamerawork.org/images/exhibitions/current/phelan2009-2_xl.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Cue Gainsbourg’s \u003ca href=\"http://www.youtube.com/watch?v=ehqvuP_osfE\">Bonnie and Clyde\u003c/a> and cut to the panoramic photographs of Doris Jew Conrath, another Phelan award winner. Conrath has a penchant for photographing the orphan children of strip mall development: espresso drive-throughs and their ilk. At first glance the images are as easy to walk by as their real-world counterparts, until you realize that Conrath has photographed the buildings from a variety of perspectives (front, back, side, etc) and then restitched the images. In the process she subverts your sense of comfort, creating buildings that appear real despite their impossible lighting scenarios and strangely mirrored figures.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/phelan-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The second exhibit, \u003cb>Leaving a Mark\u003c/b>, get its title from the new issue of \u003ca href=\"http://cutterphotozine.com/\">Cutter Photozine\u003c/a>, a local publication whose aesthetic brings to mind the label protopunk, although that may be because at this point the soundtrack had switched to the Velvet Underground. \u003ci>Cutter\u003c/i> features black and white, documentary photographs culled from an open submissions process, and while the individual artistic voices tend to bleed together, the editors use this to their full advantage, creating what amounts to a coherent and energetic artist’s book. In this issue, the marks are physical and psychological, silly and serious: everything from scars and shadows to tattoos and glued-on moustaches\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://cutterphotozine.com/images/getIt_04.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>My biggest complaint is that the installation of the show isn’t nearly as sensititive as the layout of the zine itself. A handful of the photographs have been enlarged and hung, but without attention to the benefits that the original zine format affords: the opposition of specific images, or the pacing of its pages. In the center of the exhibit is a pillar where the bulk of the photographs have been tacked up as 8 x 10s, as well as a couch and coffee table where you can find copies of \u003ci>Cutter\u003c/i>. While I can understand the desire to stick with an informal aesthetic, and some of the photographs are moving on their own, for the most part whatever \u003ci>Cutter\u003c/i> offers in zine form that sets it apart from an undergrad photo course gets lost in this translation.\u003c/p>\n\u003cp>Unfortunately, the same can be said for the last exhibit — the \u003cb>Ersatz Group Exhibition\u003c/b>. It’s a fun series of ideas for an exhibit, particularly in our participatory culture: put out an open call for mail art and invite an honest-to-gosh mail carrier with some burly UPS tattoos to curate for you; promise your participants that you will publish a book of the submitted works via Blurb and make it available as a catalogue-cum-directory; and then sit back and wait for artworks to fill the gallery walls in all their variant shapes, sizes and colors. It’s this last part of the plan that isn’t so successful.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.sfcamerawork.org/images/exhibitions/current/ersatz-2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I love \u003ca href=\"http://en.wikipedia.org/wiki/Mail_art\">mail art\u003c/a> — both the tactile and \u003ca href=\"http://www.anonymouspostcard.org/\">electronic variety\u003c/a>. I’ve got boxes full of envelopes made of magazine clippings and postcards created through rounds of exquisite corpse. I also love many of the pieces in the exhibit, from the magnified image of a squashed copper penny to Judy Dater’s re-appropriated fanmail (which eeriely praises her “erotically feminine feet and little, double-jointed toes”). And the accidental rock soundtrack provided by the Camerawork staff while I was there continued to be a bonus, as well.\u003c/p>\n\u003cp>The problem, again, comes down to installation. The works are broken into four different groups and displayed in clusters around the room, making it difficult to focus and hard for any individual piece to stand out, something I think needs to happen for the viewer to get sucked in. I’m not sure what I would do differently, particularly with such challenging parameters, but the presentation of the exhibit leaves much to be desired.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>2009 James D. Phelan Art Award in Photography\u003c/b>, \u003cb>Leaving A Mark\u003c/b>, and the \u003cb>Ersatz Group Exhibition\u003c/b> are all on view at \u003ca href=\"http://www.sfcamerawork.org/\">SF Camerawork\u003c/a>, located at 657 Mission Street in San Francisco, through August 22, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lineage: Matchmaking in the Archive",
"headTitle": "Lineage: Matchmaking in the Archive | KQED",
"content": "\u003cp>A perfect match is an exciting idea, but an elusive reality. The majority of us are more familiar with matchlessness — stuck with lone socks the dryer can’t explain and dating Web sites full of thumbnail portraits looking for their mates. A refresher on the concept might be helpful: A match is not a set of identical objects or people, but of complementary ones. A match is a dialogue. Think tennis or chess, in which one player’s move determines the other player’s next move. Back and forth, back and forth. Finally, a match is an object of ignition, an inert stick with the potential to make fire.\u003c/p>\n\u003cp>I went into \u003cb>Lineage: Matchmaking in the Archive\u003c/b> with the hope of finding all of these things: a series of complementary objects, a set of dialogues, and a spark. The exhibit, on view at the GLBT Historical Society, is curated by E.G. Crichton, the society’s first artist?in-residence and a professor of art at UC Santa Cruz. Crichton matched 10 living artists with 10 non-living people whose personal effects are stored in the society’s archives. Many of the objects merely hint at the owner’s biography; the artists were invited to respond, speculate, intervene, and fill in the gaps.\u003c/p>\n\u003cp>Some of the matches were more perfect than others. I preferred the work that was the most dialogic, in which the artist responded to their predecessor’s life and then stood back, as though inviting a counter-response, such as Tina Takemoto’s “Gay Bachelor’s Japanese American Internment Camp Survival Kit,” a care package sent through time to Jiro Onuma. Onuma collected pictures of “muscle men” and belonged to a bodybuilding correspondence school. Inspired by this, Takemoto created imaginary letters and instructional cards on which shirtless men flex and stretch. The objects present methods for Onuma to express his queer desire within the confines of the camp. One flier with the words “The man you have always wanted to be!” with an image of a Caucasian bodybuilder beneath it references the double bind of Onuma’s identity; he needs to “pass” in both heterosexual and Caucasian cultures. The work is both whimsical and strangely plausible. Starting from the facts, Takemoto proceeds to re-imagine the past. How would Inuma respond? \u003c/p>\n\u003cp>Troy Boyd presents an equally engaging, although more straightforward, response. Like Takemoto, he engages with his “match” as a person, not an idea. Boyd addresses deceased AIDS activist George Choy in the form of a letter. It reads like a note from a long-lost brother. Boyd muses on the fact the two men graduated high school the same year and wonders how Choy felt as a queer Asian American in the 1980s. “Thank you for your openness and for challenging me to look deeper into my life,” he writes. It is earnest and clear and all that needs to be said.\u003c/p>\n\u003cp>Some seemed to direct their responses outward, away from their subject of inspiration. Artist Luciano Chessa composed an aria in response to the life of self-taught piano player Larry DeCaesar. His display included a video recording of a male soprano singing the piece. I’m sure a lot of hard work went into it, but the focus seemed to be on Chessa as a composer and the male soprano as a performer (the singer’s business card was available beneath the monitor). I didn’t get a sense of Larry DeCaesar or his life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibit demands concentration, more than most art exhibits ask for. While I imagine the majority of viewers, like me, won’t mind putting in the time, a group of men who entered while I was there didn’t have the patience. “I don’t get it,” one man kept saying to his friends before they all walked out. Just a warning: Don’t go if you’re overtired. Also, make sure you read the dossiers concealed in an ordinary looking set of hanging file folders near the gallery’s entrance. They contain information regarding the artists and their inspiration and make a big difference (I didn’t find them until I was half an hour into my visit; when I asked the society volunteer if there was a list of the works, he said he didn’t know). \u003c/p>\n\u003cp> Regardless of the coherency of its manifestations, \u003cb>Lineage\u003c/b> is powerful as both a concept and an exhibit. It begins to illuminate concealed histories and create continuity between queers of the past and queers of the present. Crichton’s own photographs of the artists with their “matches” on display visually establish this connection. As the powers-that-be oscillate between legitimizing and delegitimizing queer relationships, \u003cb>Lineage\u003c/b> affirms their persistence in the face of legislative whims and celebrates their multiple permutations.\u003c/p>\n\u003cp>The group of artists include Tina Takemoto, Troy Boyd, Maya Manvi, Crow Cianciola, Camille Norton, Bill Domonkos, Luciano Chessa, Lauren Crux, Gabriella Ripley-Phipps, Camille Norton, Dominika Bednarska, and Elliot Anderson. It is the first installment in the series, as Crichton plans to continue making matches over the course of her residency.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show is on display at the GLBT Historical Society through October 15, 2009. The society is located at 657 Mission Street, #300. For \u003ca href=\"http://lgbtlineage.net\">more information\u003c/a> visit lgbtlineage.net.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A perfect match is an exciting idea, but an elusive reality. The majority of us are more familiar with matchlessness — stuck with lone socks the dryer can’t explain and dating Web sites full of thumbnail portraits looking for their mates. A refresher on the concept might be helpful: A match is not a set of identical objects or people, but of complementary ones. A match is a dialogue. Think tennis or chess, in which one player’s move determines the other player’s next move. Back and forth, back and forth. Finally, a match is an object of ignition, an inert stick with the potential to make fire.\u003c/p>\n\u003cp>I went into \u003cb>Lineage: Matchmaking in the Archive\u003c/b> with the hope of finding all of these things: a series of complementary objects, a set of dialogues, and a spark. The exhibit, on view at the GLBT Historical Society, is curated by E.G. Crichton, the society’s first artist?in-residence and a professor of art at UC Santa Cruz. Crichton matched 10 living artists with 10 non-living people whose personal effects are stored in the society’s archives. Many of the objects merely hint at the owner’s biography; the artists were invited to respond, speculate, intervene, and fill in the gaps.\u003c/p>\n\u003cp>Some of the matches were more perfect than others. I preferred the work that was the most dialogic, in which the artist responded to their predecessor’s life and then stood back, as though inviting a counter-response, such as Tina Takemoto’s “Gay Bachelor’s Japanese American Internment Camp Survival Kit,” a care package sent through time to Jiro Onuma. Onuma collected pictures of “muscle men” and belonged to a bodybuilding correspondence school. Inspired by this, Takemoto created imaginary letters and instructional cards on which shirtless men flex and stretch. The objects present methods for Onuma to express his queer desire within the confines of the camp. One flier with the words “The man you have always wanted to be!” with an image of a Caucasian bodybuilder beneath it references the double bind of Onuma’s identity; he needs to “pass” in both heterosexual and Caucasian cultures. The work is both whimsical and strangely plausible. Starting from the facts, Takemoto proceeds to re-imagine the past. How would Inuma respond? \u003c/p>\n\u003cp>Troy Boyd presents an equally engaging, although more straightforward, response. Like Takemoto, he engages with his “match” as a person, not an idea. Boyd addresses deceased AIDS activist George Choy in the form of a letter. It reads like a note from a long-lost brother. Boyd muses on the fact the two men graduated high school the same year and wonders how Choy felt as a queer Asian American in the 1980s. “Thank you for your openness and for challenging me to look deeper into my life,” he writes. It is earnest and clear and all that needs to be said.\u003c/p>\n\u003cp>Some seemed to direct their responses outward, away from their subject of inspiration. Artist Luciano Chessa composed an aria in response to the life of self-taught piano player Larry DeCaesar. His display included a video recording of a male soprano singing the piece. I’m sure a lot of hard work went into it, but the focus seemed to be on Chessa as a composer and the male soprano as a performer (the singer’s business card was available beneath the monitor). I didn’t get a sense of Larry DeCaesar or his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibit demands concentration, more than most art exhibits ask for. While I imagine the majority of viewers, like me, won’t mind putting in the time, a group of men who entered while I was there didn’t have the patience. “I don’t get it,” one man kept saying to his friends before they all walked out. Just a warning: Don’t go if you’re overtired. Also, make sure you read the dossiers concealed in an ordinary looking set of hanging file folders near the gallery’s entrance. They contain information regarding the artists and their inspiration and make a big difference (I didn’t find them until I was half an hour into my visit; when I asked the society volunteer if there was a list of the works, he said he didn’t know). \u003c/p>\n\u003cp> Regardless of the coherency of its manifestations, \u003cb>Lineage\u003c/b> is powerful as both a concept and an exhibit. It begins to illuminate concealed histories and create continuity between queers of the past and queers of the present. Crichton’s own photographs of the artists with their “matches” on display visually establish this connection. As the powers-that-be oscillate between legitimizing and delegitimizing queer relationships, \u003cb>Lineage\u003c/b> affirms their persistence in the face of legislative whims and celebrates their multiple permutations.\u003c/p>\n\u003cp>The group of artists include Tina Takemoto, Troy Boyd, Maya Manvi, Crow Cianciola, Camille Norton, Bill Domonkos, Luciano Chessa, Lauren Crux, Gabriella Ripley-Phipps, Camille Norton, Dominika Bednarska, and Elliot Anderson. It is the first installment in the series, as Crichton plans to continue making matches over the course of her residency.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show is on display at the GLBT Historical Society through October 15, 2009. The society is located at 657 Mission Street, #300. For \u003ca href=\"http://lgbtlineage.net\">more information\u003c/a> visit lgbtlineage.net.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For Fan Ho, whose exhibition \u003cb>The Living Theatre\u003c/b> coincides with the publication of a limited edition art book of the same name, Hong Kong is a shadow-filled and smoky place, where children grasp what they can of their youth and everyone else toils in placid determination. Consisting of 150 photographs taken immediately after World War II, Ho shot the bulk of these photos when he was in his 20s — some were snapped when he was still in his teens. All reflect his then-youthful eye, which was not yet mature enough to dismiss even the most minor details of the spectacle before him. Lucky us.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/profile.jsp?essid=6310\">Modernbook Gallery\u003c/a> has done a fine job of bringing Ho’s Hong Kong, with its gorgeously bleak cityscape and densely packed harbor, to life. The multi-level gallery, as well as the loft above it, is crammed with Ho’s pictures, which themselves are filled with every nook and cranny of Hong Kong. Some have been reproduced in large, eye-catching formats that draw us in from across the room. Other images are tiny, swimming within frames that are deliberately grander than their contact-sheet size. Just about all are vintage prints from a half-century ago. Many were developed in Ho’s bathtub.\u003c/p>\n\u003cp>As a portrait of a place long gone, Ho’s work is an indispensible time capsule, but it is also very smart art. Ho has a terrific sense of composition, capturing life in the slums of Hong Kong with both affection and perception. Ho does not glorify his subjects — he does place the men, women, and street urchins that people his photographs on pedestals for suffering the burdens of their lower-than-proletariat stations in life. But Ho is a good reporter, and report he does on what he calls, in one image from 1957, the “unceasing toil” of life in post-war Hong Kong. His camera does not flinch, but the artist is not intent on shocking us into doing the same. We see what he saw, and all we can do is marvel at the terrible beauty of it all.\u003c/p>\n\u003cp>Several themes emerge. First and foremost, there is the work. Men swing picks in a stone quarry, others shovel aside their comrades’ debris. Men and women alike are pressed into service, pushing the poles of their sampans to make their way from point to point in the busy harbor, in search of what are doubtless meager rewards. Men and women also carry baskets, each suspended from the end of a bamboo pole. The contraption, known as a dam chi, which literally means “carry burden,” appears to ride effortlessly on their stooped shoulders, but we know that unpadded piece of bamboo, torqued by the weights swinging from its ends, must dig hard into the beaten bodies of their bearers. Smoke from fires, smoke from dust, smoke from sweaty humanity pressed tightly together fills the air.\u003c/p>\n\u003cp>Ho’s Hong Kong is also a place of patterns captured for their own sake. We see the repetition of open windows in a back alley, rectangles of white against the black and the gray. A stairway lit from somewhere above disintegrates before our eyes into an abstract composition of horizontal parallel lines bisected by a vertical shaft of light that is, in fact, the stairway’s center handrail. In other pictures, we are flat-out fooled, as in the photograph of a woman cleaning a set of Venetian blinds. More horizontal lines, we think, until we notice — and not at first — that she is attired in a vertically striped pantsuit. Gotcha, smiles the artist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there are children of Ho’s Hong Kong, who were closer in age to their photographer than Ho’s adult subjects were. Is it this chronological proximity that permits Ho to put us in both the mind of the mother who is teaching her child to walk and the child, for whom the vast distance between herself and her mother appears to have reduced the child to tears? Ho feels the struggle of the child, but he also understands that this mother needs to make her daughter tough, and fast. Once she is old enough to walk and carry a younger sibling, she will be asked to do just that. How do we know this? Because Ho has a picture of that, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Living Theatre\u003c/b> runs through July 31, 2009 at Modernbook Gallery in Palo Alto. For \u003ca href=\"http://www.modernbook.com/static.html\" target=\"offsite\" rel=\"noopener\">further information\u003c/a>, visit modernbook.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there are children of Ho’s Hong Kong, who were closer in age to their photographer than Ho’s adult subjects were. Is it this chronological proximity that permits Ho to put us in both the mind of the mother who is teaching her child to walk and the child, for whom the vast distance between herself and her mother appears to have reduced the child to tears? Ho feels the struggle of the child, but he also understands that this mother needs to make her daughter tough, and fast. Once she is old enough to walk and carry a younger sibling, she will be asked to do just that. How do we know this? Because Ho has a picture of that, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Living Theatre\u003c/b> runs through July 31, 2009 at Modernbook Gallery in Palo Alto. For \u003ca href=\"http://www.modernbook.com/static.html\" target=\"offsite\" rel=\"noopener\">further information\u003c/a>, visit modernbook.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Warren MacKenzie has achieved venerable status as a leading 20th century ceramic artist, yet his work is not high-falutin’ art with a capital “A.” Instead, Machenzie has spent a lifetime creating simple, dignified — and always utilitarian — hand-thrown pieces of pottery.\u003c/p>\n\u003cp>The Museum of Craft and Folk Art’s new retrospective, \u003cb>Warren MacKenzie: Legacy of an American Potter\u003c/b> includes casserole dishes, mugs and plates. Items that you want to reach out and cup with your palms. Items that would warm up a kitchen table on a chilly winter’s evening.\u003c/p>\n\u003cp>MacKenize originally studied to be a painter, and created hard-edged, geometric work. But World War II interfered. When he returned to art school, the painting department was full and he turned instead to ceramics. He dedicated himself to functional pottery, drawing heavily on Japanese and Korean ceramic traditions.\u003c/p>\n\u003cp>The pieces on display at the Museum of Craft and Folk Art radiate calm through their satisfying heft. The curve in the lip of a teapot, the rounding of a bowl, the subtle fluting of a jar. Even the names of Mackenzie’s earthy, muted glazes — rust, copper green, oatmeal — use language as familiar as the shapes he creates. And despite being so expertly worked, all of the pieces retain a strong feeling of earth, and damp slabs of clay.\u003c/p>\n\u003cp>If my love of MacKenzie’s ceramics makes me a commoner, I’m happy to live with that label. In fact, I get the feeling from his work that MacKenzie himself would rather spend time at a kitchen table than in an art gallery. Just as long as he has a perfectly proportioned mug in his hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Warren MacKenzie: Legacy of an American Potter\u003c/b> runs at the Museum of Craft and Folk Art through September 13, 2009. For \u003ca href=\"http://mocfa.org/exhibitions/index.htm\">more information\u003c/a> visit mocfa.org.\u003c/p>\n\n",
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"content": "\u003cp>The subject gets all the play. In a sentence, the subject performs, affects the object, “the subject of a clause controls the verb and typically precedes it,” says Chicago. When a sentence starts with anything but a subject, people get their knickers in a twist (“Avoid the passive voice at all costs,” they say). Our grammar instructs us to be actors, not acted upon, subjects not subjected to.\u003c/p>\n\u003cp>But two current East Bay art shows think differently. They walk away from subject-hood, venturing into less-sure territory. \u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> at Blankspace Gallery and \u003cb>Becoming Non Object\u003c/b> at Hatch Gallery both seek liberation and possibility through the processes of un-definition and inversion. The works and the methods are diverse, but the goal is the same: discovery through a shift in perspective.\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions…\u003c/b> is a series of collaborations between Sam Lopes, Joy Fritz, Matthew Momchilov, and Erik Scollon. All the works were made through a game of copycat, in which the artists imitated one of their collaborators’ styles. While the “art machine” encourages artists to develop a unique brand, these guys bravely try on artistic styles like different dresses at a thrift store. The result is an irreverent series of works that questions ideas of authenticity, imitation, and the integrity of identity, artistic as well as sexual.\u003c/p>\n\u003cp>A queer theme runs through it all, explicitly referenced in the show’s literature and implied by many of the works. A sense of psychedelic domesticity is rampant. Hearthstones and shag-carpeted living rooms pulsate with bright colors and sexual innuendoes. In “Distracted by Joy in a Bathing Suit,” by Sam Lopes and Joy Fritz, a life-sized paper-mache nude figure reclines beneath a crocheted afghan before a cardboard fireplace. A male body in a woman’s bathing suit stands suggestively nearby. It’s like we’ve walked in on something.\u003c/p>\n\u003cp>A wooden sculpture, entirely abstract and geometric, dominates one wall. “Quantum Leap,” by Lopes, is a checkerboard of colors that intersect and depart, come together to make new shapes and take off to create other ones. How many different combinations are possible? How do the edges of one shape bleed into another? When does the merging stop? It seems like a metaphor for identity, one that informs the entire show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Becoming Non-Object\u003c/b>, a two-person show including paintings by Nate Crane and sculptures by Michael Deane, revolves around the “the intentional shift of the object as the subject, to the object as the reference point for viewing the energy and influences around it,” the curatorial statement reads. The artists attempt this inversion in markedly different ways. Crane creates ordered and precise paintings of geometric shapes and astronomical phenomena, while Deane makes conglomerations of debris that look like the contents of a disorganized toy bin in the back of a child’s closet. (That latter comment sounds like more of a criticism than it’s meant to be.)\u003c/p>\n\u003cp>Crane’s paintings are intriguing in their deceptive simplicity. Inspired by subject matter complicated and remote, such as astronomical dark matter and colliding galaxies, the result is pleasingly coherent. An abstract Persian snake, a common motif in Persian rugs, winds its way through the works, dancing in the sky in “Descent” and wrapping around itself in “Colliding Galaxies.” Both works resemble screenshots from an Atari videogame: playful, vaguely scientific, and inviting. The work highlights the limitations inherent in depicting negative space with paint and canvas. A complex idea must be visually simplified and rendered in positive space. This simplification isn’t a disappointment though. In this case it’s more like a refreshing surprise.\u003c/p>\n\u003cp>Is this shift away from subject-hood a new trend? Will we see more shows dedicated to representing the space around the “I”? Deconstruction as muse? Given the spirit of possibility and play in these two shows, let’s hope so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> is up through Sunday, July 5, at \u003ca href=\"http://www.blankspacegallery.com\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>, 6609 San Pablo Ave., Oakland. And \u003cb>Becoming Non Object\u003c/b> runs through Saturday, June 27, at \u003ca href=\"http://www.hatchgallery.org\" target=\"offsite\" rel=\"noopener\">Hatch Gallery\u003c/a>, 492 23rd St., Oakland.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The subject gets all the play. In a sentence, the subject performs, affects the object, “the subject of a clause controls the verb and typically precedes it,” says Chicago. When a sentence starts with anything but a subject, people get their knickers in a twist (“Avoid the passive voice at all costs,” they say). Our grammar instructs us to be actors, not acted upon, subjects not subjected to.\u003c/p>\n\u003cp>But two current East Bay art shows think differently. They walk away from subject-hood, venturing into less-sure territory. \u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> at Blankspace Gallery and \u003cb>Becoming Non Object\u003c/b> at Hatch Gallery both seek liberation and possibility through the processes of un-definition and inversion. The works and the methods are diverse, but the goal is the same: discovery through a shift in perspective.\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions…\u003c/b> is a series of collaborations between Sam Lopes, Joy Fritz, Matthew Momchilov, and Erik Scollon. All the works were made through a game of copycat, in which the artists imitated one of their collaborators’ styles. While the “art machine” encourages artists to develop a unique brand, these guys bravely try on artistic styles like different dresses at a thrift store. The result is an irreverent series of works that questions ideas of authenticity, imitation, and the integrity of identity, artistic as well as sexual.\u003c/p>\n\u003cp>A queer theme runs through it all, explicitly referenced in the show’s literature and implied by many of the works. A sense of psychedelic domesticity is rampant. Hearthstones and shag-carpeted living rooms pulsate with bright colors and sexual innuendoes. In “Distracted by Joy in a Bathing Suit,” by Sam Lopes and Joy Fritz, a life-sized paper-mache nude figure reclines beneath a crocheted afghan before a cardboard fireplace. A male body in a woman’s bathing suit stands suggestively nearby. It’s like we’ve walked in on something.\u003c/p>\n\u003cp>A wooden sculpture, entirely abstract and geometric, dominates one wall. “Quantum Leap,” by Lopes, is a checkerboard of colors that intersect and depart, come together to make new shapes and take off to create other ones. How many different combinations are possible? How do the edges of one shape bleed into another? When does the merging stop? It seems like a metaphor for identity, one that informs the entire show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Becoming Non-Object\u003c/b>, a two-person show including paintings by Nate Crane and sculptures by Michael Deane, revolves around the “the intentional shift of the object as the subject, to the object as the reference point for viewing the energy and influences around it,” the curatorial statement reads. The artists attempt this inversion in markedly different ways. Crane creates ordered and precise paintings of geometric shapes and astronomical phenomena, while Deane makes conglomerations of debris that look like the contents of a disorganized toy bin in the back of a child’s closet. (That latter comment sounds like more of a criticism than it’s meant to be.)\u003c/p>\n\u003cp>Crane’s paintings are intriguing in their deceptive simplicity. Inspired by subject matter complicated and remote, such as astronomical dark matter and colliding galaxies, the result is pleasingly coherent. An abstract Persian snake, a common motif in Persian rugs, winds its way through the works, dancing in the sky in “Descent” and wrapping around itself in “Colliding Galaxies.” Both works resemble screenshots from an Atari videogame: playful, vaguely scientific, and inviting. The work highlights the limitations inherent in depicting negative space with paint and canvas. A complex idea must be visually simplified and rendered in positive space. This simplification isn’t a disappointment though. In this case it’s more like a refreshing surprise.\u003c/p>\n\u003cp>Is this shift away from subject-hood a new trend? Will we see more shows dedicated to representing the space around the “I”? Deconstruction as muse? Given the spirit of possibility and play in these two shows, let’s hope so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> is up through Sunday, July 5, at \u003ca href=\"http://www.blankspacegallery.com\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>, 6609 San Pablo Ave., Oakland. And \u003cb>Becoming Non Object\u003c/b> runs through Saturday, June 27, at \u003ca href=\"http://www.hatchgallery.org\" target=\"offsite\" rel=\"noopener\">Hatch Gallery\u003c/a>, 492 23rd St., Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not being a kid (or parent) I wasn’t sure what an exhibit on children’s books might hold for me. But I remember the cozy, lush, saturated worlds of my favorite childhood books. And it turns out that’s plenty of prerequisite for \u003cb>Once Upon a Book\u003c/b>, the current exhibition at San Francisco Center for the Book.\u003c/p>\n\u003cp>If you’ve ever thought that the topsy-turvy worlds portrayed in children’s books appear in full bloom in their creator’s head, this show sets the record straight by showing the lively, tangled work of teasing them out of their creator’s imagination.\u003c/p>\n\u003cp>There are notes scribbled in the margins of manuscripts, doodles, page layouts, type that’s been cut out and arranged on the page by the artists. There are small sketchbooks, research photos, different versions of illustrations with shifts in perspective, background, scale. In ink, gouache, snipped paper, pencil, and watercolor.\u003c/p>\n\u003cp>Remy Charlip, one of the six illustrators featured in the show, puts it this way: “A thrilling picture book not only makes beautiful single images or sequential images, but also allows us to become aware of a book’s unique physical structure, by bringing out attention, once again, to that momentous moment: the turning of the page.”\u003c/p>\n\u003cp>When leaving the exhibit, I saw for the first time the published books from each illustrator, and I almost didn’t want to look. I was so suspended in the intimate, finely articulated creative process of each of these artists that I didn’t want to see the mass-produced versions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I agree with curator Thacher Hurd that sometimes it can be more revealing, more transporting, to see the way people work rather than the finished work itself. This exhibit allows for that, and offers a fuller glimpse into the artists’ imaginings than the books alone.\u003c/p>\n\u003cp>We all know these worlds from our childhood. These are places, as illustrator Elisa Kleven says, “where forests grew and seasons changed, where animals talked and anything was possible.” This exhibition contains the maps to lead us back there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Once Upon a Book\u003c/b> is at the San Francisco Center for the Book through August 7, 2009 and includes illustrations from Remy Charlip, Maira Kalman, Elisa Kleven, David Macaulay, Chris Raschka and Brian Selznick. For \u003ca href=\"http://www.sfcb.org/html/exhibitions.html\">more information\u003c/a>, visit www.sfcb.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not being a kid (or parent) I wasn’t sure what an exhibit on children’s books might hold for me. But I remember the cozy, lush, saturated worlds of my favorite childhood books. And it turns out that’s plenty of prerequisite for \u003cb>Once Upon a Book\u003c/b>, the current exhibition at San Francisco Center for the Book.\u003c/p>\n\u003cp>If you’ve ever thought that the topsy-turvy worlds portrayed in children’s books appear in full bloom in their creator’s head, this show sets the record straight by showing the lively, tangled work of teasing them out of their creator’s imagination.\u003c/p>\n\u003cp>There are notes scribbled in the margins of manuscripts, doodles, page layouts, type that’s been cut out and arranged on the page by the artists. There are small sketchbooks, research photos, different versions of illustrations with shifts in perspective, background, scale. In ink, gouache, snipped paper, pencil, and watercolor.\u003c/p>\n\u003cp>Remy Charlip, one of the six illustrators featured in the show, puts it this way: “A thrilling picture book not only makes beautiful single images or sequential images, but also allows us to become aware of a book’s unique physical structure, by bringing out attention, once again, to that momentous moment: the turning of the page.”\u003c/p>\n\u003cp>When leaving the exhibit, I saw for the first time the published books from each illustrator, and I almost didn’t want to look. I was so suspended in the intimate, finely articulated creative process of each of these artists that I didn’t want to see the mass-produced versions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I agree with curator Thacher Hurd that sometimes it can be more revealing, more transporting, to see the way people work rather than the finished work itself. This exhibit allows for that, and offers a fuller glimpse into the artists’ imaginings than the books alone.\u003c/p>\n\u003cp>We all know these worlds from our childhood. These are places, as illustrator Elisa Kleven says, “where forests grew and seasons changed, where animals talked and anything was possible.” This exhibition contains the maps to lead us back there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Once Upon a Book\u003c/b> is at the San Francisco Center for the Book through August 7, 2009 and includes illustrations from Remy Charlip, Maira Kalman, Elisa Kleven, David Macaulay, Chris Raschka and Brian Selznick. For \u003ca href=\"http://www.sfcb.org/html/exhibitions.html\">more information\u003c/a>, visit www.sfcb.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like most of her contemporaries, conceptual artist and photographer Alice Shaw has identity issues — not to mention a lot of humorous questions about the efficacy of portraiture.\u003c/p>\n\u003cp>These are the themes that Shaw keeps cycling back to, anyway. Her 2006 book, \u003ca href=\"http://www.gallery16.com/index.php?page=books&book=people/\" target=\"offsite\" rel=\"noopener\">People Who Look Like Me\u003c/a>, contains dozens of sneakily casual-looking snapshots pairing Shaw with a variety of doppelgängers, including family members, dates, and random customer service representatives. Her 2007 show at Gallery 16, \u003ca>A Group Show\u003c/a>, featured individual portraits of Shaw and her “opposite,” Rhyanna, a teenaged African-American tranny, in vaguely similar clothing and identical settings. I wasn’t able to see \u003cb>A Group Show\u003c/b>, but a quick flip through \u003cb>People Who Look Like Me\u003c/b> leaves me eerily aware how whimsical Shaw’s choices for pairings can be (based on things as simple as a part of the bangs) and thus how manipulable my perception actually is.\u003c/p>\n\u003cp>Shaw’s current show, \u003cb>(Auto)Biography\u003c/b>, expands this line of investigation beyond the photograph, incorporating different sorts of portraiture, including handwriting analysis, tea leaves, psychic predictions and palm reading. She even hired an astro-locator to tell her where she should be living (not California) and asked a synesthetic friend to describe her color (a dark, hot pink).\u003c/p>\n\u003cp>The results — typewritten letters, astrological charts, a teacup with a cigarette butt placed inside — are installed next to a series of new works created in response to the different analyses. It’s a hodgepodge of media, with everything from photographs and prints to drawings and sculptures. Stylistically, nothing exactly matches up, and yet, typical of Shaw, the works reverberate off each other’s pleasing ways: sometimes challenging their companion works, sometimes gently poking fun, and sometimes serving to confuse.\u003c/p>\n\u003cp>If you visit, I recommend first taking a tour around the room without looking at the titles. At times — as in the case of a faux salt-print of a palm leaf (made by spray paint) next to an impression of Shaw’s inked palm — knowing the titles makes the puns much too literal. In other words, before you ask your date to explain herself, take stock of your first impressions. They might actually be more nuanced than what she provides. As a matter of fact, despite the show’s underlying humor around the idea of “the real,” after describing my impressions of Shaw’s personality based on what I saw in the show to a friend who actually knows Alice Shaw, I’m not so sure that I’m getting it wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>(Auto)Biography\u003c/b> shows at \u003ca href=\"http://www.gallery16.com/index.php\" target=\"offsite\" rel=\"noopener\">Gallery 16\u003c/a> through July 3, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>(Auto)Biography\u003c/b> shows at \u003ca href=\"http://www.gallery16.com/index.php\" target=\"offsite\" rel=\"noopener\">Gallery 16\u003c/a> through July 3, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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