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"content": "\u003cp>Some truisms (in descending order of certainty): All women aren’t artists. All women aren’t feminists. Some, however, are both, and we call these women “feminist artists.” I have no idea what it means to be a “feminist artist” or to make “feminist art,” although I am open to the possibility the identity and the genre exist.\u003c/p>\n\u003cp>A simple question led to all this ruminating. A friend asked: “Is the Squeak Carnwath exhibit at the Oakland Museum of California ‘feminist art’?” I just stood there. I couldn’t answer. That was two weeks ago. I’ve thought a lot about the question since then and I still can’t answer it. I just have this parade of thoughts marching in a circle through my head: Feminism, artists, feminist artist, feminist art (repeat). 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Instead, I saw a deeply personal visual language, a system of mark-making and time recording that was cryptic but still intelligible. The artist uses recognizable symbols (words, numbers, dates, objects) in subjective ways, juxtaposing the order of language and geometry with less tangible entities like loss, time, and guilt. Her textured paintings appear as both public displays and private entries, the layered images resembling walls of graffiti and journal pages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “All That I Know,” from 1995, the squares of a grid house letters, dabs of paint, question marks, and everyday objects like a rotary telephone, a birthday cake, and an apple. Mimicking the form of the periodic table, the artist draws attention to all the things that defy quantification. Around 2002, Carnwath began incorporating a “guilt-free zone” into her paintings. The zone, roughly the size of two footprints side by side, is delineated by a dotted line. Inside, in the artist’s distinct handwriting, are the words “Guilt-Free Zone.” The artist makes it seem as though alleviating guilt could be so simple, and as our eyes rest on the simple circle, it seems like it might be.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Bringing the personal into the public realm, 1 point; subverting patriarchal language systems, 2 points; privileging non-linear systems of knowledge, 1 point.\u003c/p>\n\u003cp>My favorite group of paintings in the show are the ones Carnwath made during the ’90s and early 2000s. Paintings like “But For Monkeys” (2003) and “Right Now” (2003) are like soothing blankets covering the walls. Linked bars of color create a multi-hued wall of bricks. These canvases appear more unified than some of the other works. In their size, color, and patchwork styles, they reminded me of quilts. The same is true of the text-based painting “Please” (2000), in which Carnwath writes “I’m sorry,” over and over, black letters overlapping and cascading down the canvas. Her tiny repetitive script mimics the small stitches used to sew the top layer of a quilt to the bottom. There is something obsessive and devotional to both forms of handwork. Not all of Carnwath’s paintings resemble quilts, although they all reflect the logic of quilt-making. Like discrete quilt squares made separately and then pieced together, Carnwath joins together disparate images and ideas, reconciling opposites, incorporating scraps of her experience into a cohesive whole.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> being a woman and making big paintings, 1 point; paying homage to traditionally feminine forms of handwork, 3 points. Total score: 12 points.\u003c/p>\n\u003cp>Unfortunately, a scoring rubric for the feminism-meter does not exist, as the system of measurement is relatively new. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some truisms (in descending order of certainty): All women aren’t artists. All women aren’t feminists. Some, however, are both, and we call these women “feminist artists.” I have no idea what it means to be a “feminist artist” or to make “feminist art,” although I am open to the possibility the identity and the genre exist.\u003c/p>\n\u003cp>A simple question led to all this ruminating. A friend asked: “Is the Squeak Carnwath exhibit at the Oakland Museum of California ‘feminist art’?” I just stood there. I couldn’t answer. That was two weeks ago. I’ve thought a lot about the question since then and I still can’t answer it. I just have this parade of thoughts marching in a circle through my head: Feminism, artists, feminist artist, feminist art (repeat). Lacking definitive answers, I guess I’ll give it the ol’ “Intro. to Women’s Studies” try.\u003c/p>\n\u003cp>Carnwath is a woman and an artist and has been described as a feminist, partially for her decision to abandon ceramics in the late 1970s because she found the medium (at the time, in the Bay Area) too chauvinistic. She still lives in the Bay Area, and received her MFA from California College of Arts and Crafts, and has taught at UC Berkeley for the past ten years. The exhibit at the Oakland Museum, which includes work from the early 1990s to the present, is titled \u003cb>Painting is No Ordinary Object\u003c/b>. It is the first large, solo museum show of her work.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Abandoning ceramics because of men, 1 point; large museum show dedicated to a living woman artist’s work, 3 points.\u003c/p>\n\u003cp>I didn’t see any overtly feminist themes in Carnwath’s work. Instead, I saw a deeply personal visual language, a system of mark-making and time recording that was cryptic but still intelligible. The artist uses recognizable symbols (words, numbers, dates, objects) in subjective ways, juxtaposing the order of language and geometry with less tangible entities like loss, time, and guilt. Her textured paintings appear as both public displays and private entries, the layered images resembling walls of graffiti and journal pages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “All That I Know,” from 1995, the squares of a grid house letters, dabs of paint, question marks, and everyday objects like a rotary telephone, a birthday cake, and an apple. Mimicking the form of the periodic table, the artist draws attention to all the things that defy quantification. Around 2002, Carnwath began incorporating a “guilt-free zone” into her paintings. The zone, roughly the size of two footprints side by side, is delineated by a dotted line. Inside, in the artist’s distinct handwriting, are the words “Guilt-Free Zone.” The artist makes it seem as though alleviating guilt could be so simple, and as our eyes rest on the simple circle, it seems like it might be.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Bringing the personal into the public realm, 1 point; subverting patriarchal language systems, 2 points; privileging non-linear systems of knowledge, 1 point.\u003c/p>\n\u003cp>My favorite group of paintings in the show are the ones Carnwath made during the ’90s and early 2000s. Paintings like “But For Monkeys” (2003) and “Right Now” (2003) are like soothing blankets covering the walls. Linked bars of color create a multi-hued wall of bricks. These canvases appear more unified than some of the other works. In their size, color, and patchwork styles, they reminded me of quilts. The same is true of the text-based painting “Please” (2000), in which Carnwath writes “I’m sorry,” over and over, black letters overlapping and cascading down the canvas. Her tiny repetitive script mimics the small stitches used to sew the top layer of a quilt to the bottom. There is something obsessive and devotional to both forms of handwork. Not all of Carnwath’s paintings resemble quilts, although they all reflect the logic of quilt-making. Like discrete quilt squares made separately and then pieced together, Carnwath joins together disparate images and ideas, reconciling opposites, incorporating scraps of her experience into a cohesive whole.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> being a woman and making big paintings, 1 point; paying homage to traditionally feminine forms of handwork, 3 points. Total score: 12 points.\u003c/p>\n\u003cp>Unfortunately, a scoring rubric for the feminism-meter does not exist, as the system of measurement is relatively new. And while I still don’t feel qualified to say if Carnwath’s work is “feminist art” (I only took one Women’s Studies class, after all, I didn’t major in it), I do feel qualified to say that the show is worth seeing. Carnwath’s commitment to creating and discovering her own visual language is inspirational, whether you’re a feminist or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Painting is No Ordinary Object\u003c/b> is on display at the Oakland Museum of California through August 23, 2009. The museum is located at 1000 Oak St., Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>The Future Is So Bright\u003c/b>, a group show of up-and-coming artists from Portland and the Bay Area, recently opened at 666 Gallery. The space, formerly the location of Gallery Three, is a cozy oasis the size of a walk-in closet in the seedy wilds of San Francisco’s Tenderloin district. Despite the vastly varied aesthetics of the six featured artists, the seventeen paintings and drawings form a cohesive whole, each artwork contributing to a shared sense of freedom and exhibiting an impressive display of meticulous detail.\u003c/p>\n\u003cp>The opening was a packed, rowdy affair: plenty of booze and just enough attitude. My gal pal, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\" target=\"offsite\" rel=\"noopener\">Kristin\u003c/a>, and I captured it all with our trusty little camera for your viewing pleasure. Feast on Alexandra Steele’s coyote decoys, Nas Chompas’ explosive fantasy world, Mark Warren Jacques’ trippy geometry, and Timothy Karpinski’s childhood bric-a-brac.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=kX7qXq1DNwU&hl=en&fs=1&color1=0x006699&color2=0x54abd6]\u003c/p>\n\u003cp>\u003cb>The Future Is So Bright\u003c/b> runs through June 15, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I snuck out of the office early last Friday to visit Sarah Applebaum as she put the finishing touches on \u003cb>Soft Core\u003c/b>, her new show at Receiver Gallery. Her work is a sort of stream-of-consciousness sculpture loosely based on dreams and archetypal imagery, and it often involves some kind of togetherness. In her portfolio are a group sweater, and a conjoined Yeti suit wearable by three people at once. Her new installation is a cozy explosion of rainbow colors and softness as you will see in the photos below.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore1.jpg\">\u003c/center>\n\u003cp>Sarah’s dogs enjoy relaxing on her sculptures and modeling her costumes.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore2.jpg\">\u003c/center> \u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore3.jpg\">\u003c/center> \n\u003cp>Emmanuel also enjoys modeling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore4.jpg\">\u003c/center> \n\u003cp>Sarah created a geometric cave in an empty room in her home and then transferred it to the gallery. Her friend helped fabricate the lovely soft-sided raindrops.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore5.jpg\">\u003c/center> \u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore6.jpg\">\u003c/center> \n\u003cp>Emmanuel took a call on the knit-phone.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore7.jpg\">\u003c/center> \n\u003cp>Sculpture detail and leafy paper cascade.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore8.jpg\">\u003c/center>\n\u003cp>Sarah rescues abandoned “knittens,” knitting projects and crocheted afghan squares, and gives them a fantastical new life.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore9.jpg\">\u003c/center> \n\u003cp>High-five.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore10.jpg\">\u003c/center> \n\u003cp>As we filmed her introduction to the show, three creatures created by Sarah busted into the gallery and started dancing with her dogs. Luckily, we were able to document the behaviors of these curious yarn people in their natural \u003cb>Soft Core\u003c/b> habitat.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/gpfQlfSPE74&hl=en&fs=1\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/gpfQlfSPE74&hl=en&fs=1\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Sarah Applebaum’s \u003cb>Soft Core\u003c/b> installation at Receiver Gallery is on view through June 26th, 2009.\u003c/p>\n\n",
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"content": "\u003cp>The Museum of Craft and Folk Art is tucked between restaurants and hotels near Yerba Buena. It’s not a big place; more gallery- than museum-sized, and it’s dwarfed by its neighbor, the Contemporary Jewish Museum. The gallery itself is small, but luckily it feels more intimate than cramped.\u003c/p>\n\u003cp>That sense of intimacy is put to good use in the museum’s current exhibition of artists’ spaces. \u003cb>Inside/Outside\u003c/b> introduces places — for the most part artists’ homes — that have been transformed into complete, enveloping experiences. They all have the feel of beloved life-long projects.\u003c/p>\n\u003cp>The focal point of the show is Bolinas surfer \u003ca href=\"http://www.shinelounge.com/\">Mike Shine’s\u003c/a> home, reproduced in full size in the gallery. It’s pretty convincing. In the video documenting Shine’s work and the creation of this installation, I wasn’t always sure which was his real home and which one the reproduction. It’s not just the look of the place that works, but also the feel. When I first walked in, there were museum-goers sitting around the kitchen table, chatting with each other. The installation is all about welcoming visitors into an artist’s environment, so I gave in to my first impulse and checked out the record collection (Rolling Stones, Kiss, recordings of whale songs).\u003c/p>\n\u003cp>The cabin sets the bar high for the rest of the show, and I was disappointed to find that the rest was, for the most part, photos of other spaces and biographies of their creators. Given the space limitations, the museum obviously couldn’t have recreated the Watts Towers in the gallery, but on the other hand, one needn’t pay museum admission to see photographs of the \u003ca href=\"http://www.wattstowers.us/\">Towers\u003c/a> and read about the man who built them. I was left with the feeling that I was looking at the pages of a well-curated coffee table book hung on the walls.\u003c/p>\n\u003cp>But the exhibition does show a vibrant array of artists’ homes and environments in California. I fantasized about a road trip to those places until I realized most of them are no longer intact. The artists — the majority were adults during the Depression — have passed away, and their relatives and communities either lacked the money or the interest to preserve their eccentric collections of hubcaps, wooden dolls, fake flowers, and layers of paintings that made up the worlds those artists created. The photographs and bios serve as memorials to those people, outsider artists who poured their time and energy into creating their own worlds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Inside/Outside\u003c/b> is up for one more week; it closes on May 24, 2009. For more information visit the Museum of Craft and Folk Art’s \u003ca href=\"http://www.mocfa.org/\">website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>For anyone who has been living under a rock (which I would imagine the artist would approve of), artist Andy Goldsworthy creates elaborate installations out of natural materials he finds on the spot: leaves, rocks, twigs, even ice. Sometimes the work lasts only moments or hours. But here in San Francisco, we’re fortunate enough to have two more or less permanent pieces.\u003c/p>\n\u003cp>Goldsworthy’s \u003cb>Faultline\u003c/b> is the cracked rock exhibit at the de Young — a fissure that meanders through boulders and pavers, leading visitors to the museum while referencing our shared seismic history.\u003c/p>\n\u003cp>His second installation is in the city’s \u003ci>other\u003c/i> major park: the Presidio. In \u003cb>Spire\u003c/b>, Goldsworthy brings the same lightness of concept and execution to another heavy medium. In this case, dozens of 15,000 pound cypress trees that the Presidio is systematically felling and replanting to create a more sustainable, staggered-growth forest.\u003c/p>\n\u003cp>I witnessed \u003cb>Spire\u003c/b> in various stages of its construction as I visited the Presidio. At first I found it somewhat unremarkable — a plain bundle of logs that reached skyward out of a newly-barren landscape. But after visiting \u003cb>Goldsworthy at the Presidio\u003c/b>, I realized that the effort required to achieve that plainness made it remarkable.\u003c/p>\n\u003cp>Sketches, video and photographs document Goldsworthy’s discipline in creating the \u003cb>Spire\u003c/b>, which soars 90 feet into the sky, but is rooted in extensive excavation, concrete and rebar. The crane and chainsaw work alone is artistry. As is Goldsworthy’s insistence to bundle the trees so deftly and tightly that almost no light can pass through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another highlight of the exhibit is a rubbing of the “king tree” or central tree. Compared to the heaviness of the trees and Goldsworthy’s sketches, the rubbing is a ghostly and light counterpoint.\u003c/p>\n\u003cp>The exhibit states that the \u003cb>Spire\u003c/b> tells the story of the forest, while welcoming the next generation of trees. “It is a poetic reference to the forest’s past; as new young trees grow up to meet the sculpture, it will eventually disappear into the forest.”\u003c/p>\n\u003cp>A simple idea, but complicated to portray so simply. The \u003cb>Spire\u003c/b> projects monumental yet quiet power. And the Presidio exhibit reveals the mastery of that accomplishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Goldswothy at the Presidio\u003c/b> is at Building 49 next to the Presidio Officers’ Club on the Main Post of the Presidio through July 19, 2009 For\u003ca href=\"http://www.presidio.gov/experiences/spire.htm\">more information\u003c/a>visit www.presidio.gov.\u003c/p>\n\n",
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"content": "\u003cp>The first thing you’ll notice when you walk into \u003cb>Edible Expeditions\u003c/b>, the newest exhibit at the \u003ca href=\"http://www.conservatoryofflowers.org/\">Conservatory of Flowers\u003c/a>, is the incredible smell. A row of small citrus trees lines the path near the door, and the flowers’ sweet honey scent hits you the way the humidity does in other parts of the Conservatory. As the path winds through plants from around the world, organized by continent, the buddha’s hand citron and the kumquat fade into the curry tree and then the allspice. It’s a tropical and sub-tropical collection, so you won’t get any ideas for your garden here, but it’s a chance to see some plants you eat, and a bunch you probably don’t.\u003c/p>\n\u003cp>Mike Gonzalez, the exhibits manager at the Conservatory said he worked to find a balance in the show between plants that have economic importance, like pineapples and cacao, and plants with ethnobotanical interest (and incredible names) like the chestnut dioon and the variegated monster fruit, less well-known because they aren’t commercially available.\u003c/p>\n\u003cp>It’s not a flashy exhibit, and it doesn’t have the macabre allure of 2007’s carnivorous plants show (many of those carnivorous plants have joined the permanent collection in the aquatic plants room, so after visiting the edible plants, you can cross the building to visit the ones that eat). But there are surprises, familiar foods, growing out of places I didn’t expect, join strange fruits I had never heard of. Pineapples squat in the middle of spiky ground-hugging bromeliads; vanilla beans hang from a viney, leggy orchid; an enormous jack fruit — they can reach 80 pounds — sits on the display table, next to a scaley, lime green cherimoya.\u003c/p>\n\u003cp>Not everything is in bloom though, and you can’t see the edible parts of every plant in the room. Flowers don’t automatically open when a new show does, so the exhibit will change through the year as different plants come in to season. I’ll have to go back to see the ice cream bean tree, not yet in fruit when I visited (word is that the pulp tastes like cotton candy). And other plants, difficult to import either because of their rarity or because of California agricultural import restrictions, are just getting established from seed. A cinnamon tree, only a couple inches tall, isn’t on display yet. But the exhibit is augmented by lovely botanical drawings, and the Conservatory is working with the San Francisco Wholesale Produce Market to keep fresh exotic fruits around for visitors to touch and smell.\u003c/p>\n\u003cp>There’s not a lot to taste, though, and all those enticing flavors pose a problem. Gonzalez says people keep picking the fruit off the trees for themselves. It’s not totally surprising; he says he and his staff enjoyed eating their way through the research and assembly of the show. It sounds a bit like \u003cb>America’s Test Kitchen\u003c/b>: figuring out how to prepare and eat plants that are sharp, smelly, and sometimes poisonous. I’m glad to hear that our foraging instincts are still intact, but it’s a risky business if you don’t know what you’re grabbing. So come smell the citrus trees, heft the jack fruit, and check out the dragon eye, but be advised that eating too much dioon may cause brain damage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Edible Expeditions\u003c/b> is at the Conservatory of Flowers in Golden Gate Park through November 1, 2009. Visit the \u003ca href=\"http://www.conservatoryofflowers.org/insidetheconservatory/special.htm\">Conservatory of Flowers website\u003c/a> for more information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you’ll notice when you walk into \u003cb>Edible Expeditions\u003c/b>, the newest exhibit at the \u003ca href=\"http://www.conservatoryofflowers.org/\">Conservatory of Flowers\u003c/a>, is the incredible smell. A row of small citrus trees lines the path near the door, and the flowers’ sweet honey scent hits you the way the humidity does in other parts of the Conservatory. As the path winds through plants from around the world, organized by continent, the buddha’s hand citron and the kumquat fade into the curry tree and then the allspice. It’s a tropical and sub-tropical collection, so you won’t get any ideas for your garden here, but it’s a chance to see some plants you eat, and a bunch you probably don’t.\u003c/p>\n\u003cp>Mike Gonzalez, the exhibits manager at the Conservatory said he worked to find a balance in the show between plants that have economic importance, like pineapples and cacao, and plants with ethnobotanical interest (and incredible names) like the chestnut dioon and the variegated monster fruit, less well-known because they aren’t commercially available.\u003c/p>\n\u003cp>It’s not a flashy exhibit, and it doesn’t have the macabre allure of 2007’s carnivorous plants show (many of those carnivorous plants have joined the permanent collection in the aquatic plants room, so after visiting the edible plants, you can cross the building to visit the ones that eat). But there are surprises, familiar foods, growing out of places I didn’t expect, join strange fruits I had never heard of. Pineapples squat in the middle of spiky ground-hugging bromeliads; vanilla beans hang from a viney, leggy orchid; an enormous jack fruit — they can reach 80 pounds — sits on the display table, next to a scaley, lime green cherimoya.\u003c/p>\n\u003cp>Not everything is in bloom though, and you can’t see the edible parts of every plant in the room. Flowers don’t automatically open when a new show does, so the exhibit will change through the year as different plants come in to season. I’ll have to go back to see the ice cream bean tree, not yet in fruit when I visited (word is that the pulp tastes like cotton candy). And other plants, difficult to import either because of their rarity or because of California agricultural import restrictions, are just getting established from seed. A cinnamon tree, only a couple inches tall, isn’t on display yet. But the exhibit is augmented by lovely botanical drawings, and the Conservatory is working with the San Francisco Wholesale Produce Market to keep fresh exotic fruits around for visitors to touch and smell.\u003c/p>\n\u003cp>There’s not a lot to taste, though, and all those enticing flavors pose a problem. Gonzalez says people keep picking the fruit off the trees for themselves. It’s not totally surprising; he says he and his staff enjoyed eating their way through the research and assembly of the show. It sounds a bit like \u003cb>America’s Test Kitchen\u003c/b>: figuring out how to prepare and eat plants that are sharp, smelly, and sometimes poisonous. I’m glad to hear that our foraging instincts are still intact, but it’s a risky business if you don’t know what you’re grabbing. So come smell the citrus trees, heft the jack fruit, and check out the dragon eye, but be advised that eating too much dioon may cause brain damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Edible Expeditions\u003c/b> is at the Conservatory of Flowers in Golden Gate Park through November 1, 2009. Visit the \u003ca href=\"http://www.conservatoryofflowers.org/insidetheconservatory/special.htm\">Conservatory of Flowers website\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Plan A: Just say all the work is good. Most of it is. Besides, the artists/students practically killed themselves making it, and they’re all in so much debt now, it would be cruel to point out any shortcomings. Plan B: Be brutally honest. The space is too big and there are too many artists to take in (forty-seven) and some of their work was nearly hidden, hung or displayed in corners and hallways of the building. Some of the work was utterly baffling. Pray that none of the people you know who are involved with California College of the Arts and/or are included in the show ever read the review. Plan C: Just talk about what you liked best.\u003c/p>\n\u003cp>Plan C:\u003cbr>Every year, the CCA MFA Exhibition celebrates and shows off the work of the graduating class. And every year it’s kind of the same and kind of different. The big sculptures march down the center of the building’s nave, the photography is featured in the first two rooms on the left, and at least one artist makes something that involves a pile of cardboard on the ground. There’s one more perennial guarantee: As you make your way through the large building, digesting the overwhelming size and scope of it all, you are certain to find myriad gems — stuff you want to know more about, work you can’t stop thinking about, and objects that are just cool to look at. Here’s what I found.\u003c/p>\n\u003cp>Alicia Escott paints endangered animals on disposable packaging, marrying good technique with a smart concept. Her work draws attention to the things we throw away — objects and animals — and the absurdity of the two sharing the same fate. Using translucent backgrounds, Escott’s animals appear as specters midway through the act of disappearance. On clear plastic from Ikea, she paints a grizzly bear. On the plastic lid of a sushi container, a group of smiling fishermen hold a prize fish. Unfortunately, the white walls of the space caused the clear canvases to blend into the background. The work glows in other settings. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Alicia_Escott/4.html\">Check it out\u003c/a>.\u003c/p>\n\u003cp>Matthew Rana’s work made the world seem bigger than CCA, no small feat. For his thesis, Rana conducted extensive interviews with a man named Ernest Patrick Butler. Butler sleeps at the MacArthur BART station and also sells his crocheted hats there. Rana presents Butler’s story in a hand-drawn comic book; the “superhero” implications of the form contrast with the gritty humility of the content. For his installation, he displayed several of Butler’s hats and set out the comic books on a spinning display, the latter free for the taking.\u003c/p>\n\u003cp>The work draws attention to the disadvantaged, but it doesn’t just operate on the level of social justice. It functions critically. Rana engages with the larger social dynamics of the Bay Area, something that doesn’t happen enough within most art schools. Through its difference from the other work on display, Rana’s piece (intentionally or not) points out the school’s insularity. He reminds us that we are in a privileged environment by highlighting someone we pass by and usually ignore on our way there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s more, of course. Conrad Ruiz’s bright paintings are exuberant collages of pop culture and childhood wonder, capturing the duality of our culture’s oversaturation with media images and the appeal of such diversions. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Conrad_Ruiz/1.html\">“Overload”\u003c/a> is a charming confluence of serious matters and innocence. Ruiz paints the President of the United States riding through the air on a giant fox in tones similar to those found on Trapper Keeper folders of the 1980s.\u003c/p>\n\u003cp>Pablo Cristi’s low-rider burrito cart, tucked away in the PLAySPACE Gallery upstairs, is filled with \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Pablo_Cristi/6.html\">ceramic burritos\u003c/a>. It references two of the most visible (to the dominant culture) vehicles of Latino commerce and culture. The hybridized, confused cart also highlights the way disparate aspects of the Latino-American experience are condensed into one stereotype. Plus it’s painted a really cool glittery blue color.\u003c/p>\n\u003cp>Klea McKenna’s photographs of simulated nature feel both artificial and hauntingly primitive. Plump flies hang from strings in \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Klea_McKenna/2.html\">“Flight Patterns”\u003c/a>. We know it’s a set-up, but somehow that doesn’t matter. Aren’t all our experiences of “nature” mediated, anyway?\u003c/p>\n\u003cp>Jason Hanasik’s \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Jason_Hanasik/1.html\">portraits of young men\u003c/a> either in or recently returned from the military are both raw and gentle. They capture the subjects’ vulnerability, tenderness, and even fear¸ qualities not usually seen in situations also involving camouflage.\u003c/p>\n\u003cp>You should go see the exhibition during its short run. For all its overstimulating effects, it’s well worth it. For orientation, check out the \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts.html\">graduate thesis Web site\u003c/a> prior to your visit to identify the artists you are interested in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The California College of the Arts Master of Fine Arts exhibition is on display at the school’s San Francisco campus at 1111 Eighth Street, 10am to 7:30pm daily through Saturday, May 16, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plan A: Just say all the work is good. Most of it is. Besides, the artists/students practically killed themselves making it, and they’re all in so much debt now, it would be cruel to point out any shortcomings. Plan B: Be brutally honest. The space is too big and there are too many artists to take in (forty-seven) and some of their work was nearly hidden, hung or displayed in corners and hallways of the building. Some of the work was utterly baffling. Pray that none of the people you know who are involved with California College of the Arts and/or are included in the show ever read the review. Plan C: Just talk about what you liked best.\u003c/p>\n\u003cp>Plan C:\u003cbr>Every year, the CCA MFA Exhibition celebrates and shows off the work of the graduating class. And every year it’s kind of the same and kind of different. The big sculptures march down the center of the building’s nave, the photography is featured in the first two rooms on the left, and at least one artist makes something that involves a pile of cardboard on the ground. There’s one more perennial guarantee: As you make your way through the large building, digesting the overwhelming size and scope of it all, you are certain to find myriad gems — stuff you want to know more about, work you can’t stop thinking about, and objects that are just cool to look at. Here’s what I found.\u003c/p>\n\u003cp>Alicia Escott paints endangered animals on disposable packaging, marrying good technique with a smart concept. Her work draws attention to the things we throw away — objects and animals — and the absurdity of the two sharing the same fate. Using translucent backgrounds, Escott’s animals appear as specters midway through the act of disappearance. On clear plastic from Ikea, she paints a grizzly bear. On the plastic lid of a sushi container, a group of smiling fishermen hold a prize fish. Unfortunately, the white walls of the space caused the clear canvases to blend into the background. The work glows in other settings. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Alicia_Escott/4.html\">Check it out\u003c/a>.\u003c/p>\n\u003cp>Matthew Rana’s work made the world seem bigger than CCA, no small feat. For his thesis, Rana conducted extensive interviews with a man named Ernest Patrick Butler. Butler sleeps at the MacArthur BART station and also sells his crocheted hats there. Rana presents Butler’s story in a hand-drawn comic book; the “superhero” implications of the form contrast with the gritty humility of the content. For his installation, he displayed several of Butler’s hats and set out the comic books on a spinning display, the latter free for the taking.\u003c/p>\n\u003cp>The work draws attention to the disadvantaged, but it doesn’t just operate on the level of social justice. It functions critically. Rana engages with the larger social dynamics of the Bay Area, something that doesn’t happen enough within most art schools. Through its difference from the other work on display, Rana’s piece (intentionally or not) points out the school’s insularity. He reminds us that we are in a privileged environment by highlighting someone we pass by and usually ignore on our way there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s more, of course. Conrad Ruiz’s bright paintings are exuberant collages of pop culture and childhood wonder, capturing the duality of our culture’s oversaturation with media images and the appeal of such diversions. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Conrad_Ruiz/1.html\">“Overload”\u003c/a> is a charming confluence of serious matters and innocence. Ruiz paints the President of the United States riding through the air on a giant fox in tones similar to those found on Trapper Keeper folders of the 1980s.\u003c/p>\n\u003cp>Pablo Cristi’s low-rider burrito cart, tucked away in the PLAySPACE Gallery upstairs, is filled with \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Pablo_Cristi/6.html\">ceramic burritos\u003c/a>. It references two of the most visible (to the dominant culture) vehicles of Latino commerce and culture. The hybridized, confused cart also highlights the way disparate aspects of the Latino-American experience are condensed into one stereotype. Plus it’s painted a really cool glittery blue color.\u003c/p>\n\u003cp>Klea McKenna’s photographs of simulated nature feel both artificial and hauntingly primitive. Plump flies hang from strings in \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Klea_McKenna/2.html\">“Flight Patterns”\u003c/a>. We know it’s a set-up, but somehow that doesn’t matter. Aren’t all our experiences of “nature” mediated, anyway?\u003c/p>\n\u003cp>Jason Hanasik’s \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Jason_Hanasik/1.html\">portraits of young men\u003c/a> either in or recently returned from the military are both raw and gentle. They capture the subjects’ vulnerability, tenderness, and even fear¸ qualities not usually seen in situations also involving camouflage.\u003c/p>\n\u003cp>You should go see the exhibition during its short run. For all its overstimulating effects, it’s well worth it. For orientation, check out the \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts.html\">graduate thesis Web site\u003c/a> prior to your visit to identify the artists you are interested in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The California College of the Arts Master of Fine Arts exhibition is on display at the school’s San Francisco campus at 1111 Eighth Street, 10am to 7:30pm daily through Saturday, May 16, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wordplay at the de Young",
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"content": "\u003cp>First impressions: the black-and-white photographs creep evenly along the walls, most of them just a little below eye level. The frames are dark, and the slightly beveled edge of the white matte board that surrounds each photograph is absolutely perfect — absolutely professional. A modern, conservative installation, which is probably as it should be for a set of mainly modern, and yes, mainly conservative, photographs.\u003c/p>\n\u003cp>The exhibit description for \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=1006/\">Signs: Wordplay in Photography\u003c/a>, co-sponsored by the Sack Photographic Trust and the de Young Museum, states that the intent of the exhibit is to explore “the myriad uses of signs in the work of 20th- and 21st-century photographers, from Walker Evans to Lee Friedlander and Ed Ruscha, “but representatives of the 21st-century are largely missing. While aesthetically I don’t find this a negative, intellectually it’s definitely disappointing.\u003c/p>\n\u003cp>It takes a moment for my eyes to adjust to the delicacy of the prints — apparently I’ve become over-habituated to the assertive nature of large-scale, contemporary color photographic installations. Too used to the experience of the work approaching me. If nothing else, the prints here are masterful: they foreground visual tactility in a way that brings to mind the 17th-century idea that eyes are not just associated with sight, but touch. Since the subject is signs, there is a tendency towards images of peeling wheat-pasted posters contrasted against brick, wood and concrete, or just on their own. Andy Warhol’s “Showbills” (1983) is the best example of this: the showbills sag, balloon and crease like old skin.\u003c/p>\n\u003cp>Most of the works in \u003cb>Signs\u003c/b> date from the 1920s through the 1960s. It’s a small show — only one room — and Evans and Ruscha feature heavily, along with a couple prints by Friedlander and a few by San Francisco photographer, \u003ca href=\"http://www.johngutmann.org/\">John Gutmann\u003c/a>. Based on the exhibit title, my hope was that the exhibit would be more liberal in its concept of “wordplay,” as well as broader in its material scope, but as someone who is always interested in what happens when image and text get together, I guess I just got overexcited and skipped the fine print.\u003c/p>\n\u003cp>The trope here is signage as texture — and the fineness of its weave into our everyday lives. In other words, the photographers here focus on the visual language of things like advertising and graffiti and how they inhabit the space of the human. Some highlight the humor (boys running in one direction while the billboard behind them features boys running the opposite), others the threat of accumulation (Friedlander’s “\u003ca href=\"http://www.icp.org/atf/cf/%7BA0B4EE7B-5A90-46AB-AF37-7115A2D48F94%7D/INFINITY2006_friedlander_IMAGE.JPG/\">New York City\u003c/a>,” 1974) and social commentary (Richard Nagler’s “\u003ca href=\"http://www.georgekrevskygallery.com/dynamic/artwork_detail.asp?ArtworkID=852/\">I Assume You Drink Martell\u003c/a>,” 1983).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nothing really new or surprising, but the show did leave me curious. Most of the work collapses the space between me and my surroundings — er, the human and the landscape of advertising — until what is background and what is foreground gets a little muddy (a good example of this being Gutmann’s “War Propaganda Paintings, China,” 1944-5, which features several Chinese laborers with their backs to us, staring at the painted image of a tank over which another sign has been pasted). In this respect, the later works by Ruscha and Warhol stand out due to the way they focus on signs (or showbills, in Warhol’s case) as objects with their own significance. I wish that the curators of the show had played around with this trajectory and included some more contemporary descendents of this line of questioning… although the giant Ruscha triptych “\u003ca href=\"http://www.sfgate.com/cgi-bin/object/article?f=/c/a/2005/03/21/DDG6QBRQTV1.DTL&o=/\">Heaven\u003c/a>,” (1988) which can be found around the corner from the exhibit, is a certainly a sign of its own sort.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Signs: Wordplay in Photography\u003c/b> runs through June 14, 2009 at the de Young Museum in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First impressions: the black-and-white photographs creep evenly along the walls, most of them just a little below eye level. The frames are dark, and the slightly beveled edge of the white matte board that surrounds each photograph is absolutely perfect — absolutely professional. A modern, conservative installation, which is probably as it should be for a set of mainly modern, and yes, mainly conservative, photographs.\u003c/p>\n\u003cp>The exhibit description for \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=1006/\">Signs: Wordplay in Photography\u003c/a>, co-sponsored by the Sack Photographic Trust and the de Young Museum, states that the intent of the exhibit is to explore “the myriad uses of signs in the work of 20th- and 21st-century photographers, from Walker Evans to Lee Friedlander and Ed Ruscha, “but representatives of the 21st-century are largely missing. While aesthetically I don’t find this a negative, intellectually it’s definitely disappointing.\u003c/p>\n\u003cp>It takes a moment for my eyes to adjust to the delicacy of the prints — apparently I’ve become over-habituated to the assertive nature of large-scale, contemporary color photographic installations. Too used to the experience of the work approaching me. If nothing else, the prints here are masterful: they foreground visual tactility in a way that brings to mind the 17th-century idea that eyes are not just associated with sight, but touch. Since the subject is signs, there is a tendency towards images of peeling wheat-pasted posters contrasted against brick, wood and concrete, or just on their own. Andy Warhol’s “Showbills” (1983) is the best example of this: the showbills sag, balloon and crease like old skin.\u003c/p>\n\u003cp>Most of the works in \u003cb>Signs\u003c/b> date from the 1920s through the 1960s. It’s a small show — only one room — and Evans and Ruscha feature heavily, along with a couple prints by Friedlander and a few by San Francisco photographer, \u003ca href=\"http://www.johngutmann.org/\">John Gutmann\u003c/a>. Based on the exhibit title, my hope was that the exhibit would be more liberal in its concept of “wordplay,” as well as broader in its material scope, but as someone who is always interested in what happens when image and text get together, I guess I just got overexcited and skipped the fine print.\u003c/p>\n\u003cp>The trope here is signage as texture — and the fineness of its weave into our everyday lives. In other words, the photographers here focus on the visual language of things like advertising and graffiti and how they inhabit the space of the human. Some highlight the humor (boys running in one direction while the billboard behind them features boys running the opposite), others the threat of accumulation (Friedlander’s “\u003ca href=\"http://www.icp.org/atf/cf/%7BA0B4EE7B-5A90-46AB-AF37-7115A2D48F94%7D/INFINITY2006_friedlander_IMAGE.JPG/\">New York City\u003c/a>,” 1974) and social commentary (Richard Nagler’s “\u003ca href=\"http://www.georgekrevskygallery.com/dynamic/artwork_detail.asp?ArtworkID=852/\">I Assume You Drink Martell\u003c/a>,” 1983).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing really new or surprising, but the show did leave me curious. Most of the work collapses the space between me and my surroundings — er, the human and the landscape of advertising — until what is background and what is foreground gets a little muddy (a good example of this being Gutmann’s “War Propaganda Paintings, China,” 1944-5, which features several Chinese laborers with their backs to us, staring at the painted image of a tank over which another sign has been pasted). In this respect, the later works by Ruscha and Warhol stand out due to the way they focus on signs (or showbills, in Warhol’s case) as objects with their own significance. I wish that the curators of the show had played around with this trajectory and included some more contemporary descendents of this line of questioning… although the giant Ruscha triptych “\u003ca href=\"http://www.sfgate.com/cgi-bin/object/article?f=/c/a/2005/03/21/DDG6QBRQTV1.DTL&o=/\">Heaven\u003c/a>,” (1988) which can be found around the corner from the exhibit, is a certainly a sign of its own sort.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Signs: Wordplay in Photography\u003c/b> runs through June 14, 2009 at the de Young Museum in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent rainy Saturday, my pal \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I put on our galoshes and booked it to the Mission for an art treasure hunt presented by 18 Reasons Gallery, a community foodie/art haven funded by the Bi-Rite family whose name was inspired by a \u003ca href=\"http://wexfordgirl.typepad.com/wexford_girl/2008/09/17-reasons-why.html\" target=\"offsite\" rel=\"noopener\">famous sign\u003c/a> that once lived in the Mission.\u003c/p>\n\u003cp>For their annual \u003cb>Hare & Hounds\u003c/b> event, the gallery invited artists to create maps that lead to an original artwork hidden somewhere in the neighborhood. Upon purchase of a map, the art is yours to find and keep. Artist Mike McConnell graciously created a preview treasure hunt for us so we could relay the full experience in time for you to participate.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare1.jpg\">\u003c/p>\n\u003cp>The hunt was on. Our map came in the form of a dainty handmade book of clues created by McConnell, co-creator of \u003cb>Hare & Hounds\u003c/b>. The first clue led us to his doorstep so we’d know which bookshop was at the end of his street. It turned out to be the famous Adobe Books where we got derailed in the Back Room Gallery reading Griffin McPartland’s text-filled watercolor balloon paintings.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare2.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare3.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back on track, we took the Lewis Carroll hint and headed to the fiction section to discover a tiny note that would complete the puzzle on page two of our map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare4.jpg\">\u003c/p>\n\u003cp>The woman working at Adobe turned out to be \u003ca href=\"http://www.sonyaderman.com\" target=\"offsite\" rel=\"noopener\">Sonya Derman\u003c/a>, another artist contributing to this year’s \u003cb>Hare & Hounds\u003c/b> who plans to create a more traditional map. We asked her about Griffin McPartland’s ‘zines and she pointed us to Needles & Pens where we took a detour and chatted with owner Andrew Scott about their terrific new show, \u003cb>You’ve Got Light in Your Eyes\u003c/b>, curated by Meighan O’Toole. When we told him about the hunt we were about to resume, he pulled out another treasure map! Apparently there are many artist-made maps to explore in the Mission. Speaking of maps, you can see more photos from our \u003cb>Hare & Hounds\u003c/b> adventure on this \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=102095672140431052780.00046972c82c873b7cf7a&ll=37.770918,-122.421062&spn=0.00938,0.019934&z=16\" target=\"offsite\" rel=\"noopener\">Google Map\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare5.jpg\">\u003c/p>\n\u003cp>Next stop was the Curiosity Shoppe where Sarah Smith’s wooden arrows pointed north toward everyone’s favorite secondhand store (and our next map point), Thrift Town. After luxuriating in the curiosities of the Shoppe and playing with an ominous fortune teller, we meandered down Valencia, giggling about all the fun we were having. Then suddenly, drama ensued. We’d lost the map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare6.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare7.jpg\">\u003c/p>\n\u003cp>Steps were retraced and my heart raced, what if I’d dropped it? Someone would snatch it up and find my treasure! More importantly, it was a precious piece of art in itself, and losing it would be lousy. I tried not to burst through the Shoppe’s door when we returned to look for it, and I also tried not to squeal when I saw the little map there, safe and sound on the counter. I felt like a jerk, but it was like being in \u003cb>The Goonies\u003c/b>, losing a treasure map in the rain like that. And just like them, we prevailed.\u003c/p>\n\u003cp>Once more hot on the trail of our prize, we headed back toward Thrift Town to discover the name of the artist’s studio and favorite color. “Blue Studio!” Emmanuel cried out. Sweet victory.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare8.jpg\">\u003c/p>\n\u003cp>We sent a text message to an anonymous number for our next clue, which led us to Faye’s Video and coffee shop. We declared ourselves “The White Rabbit” as instructed and were handed our final hint on the bottom of a cup. “Czech out one of the artist’s (and employees here) favorite films.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare10.jpg\">\u003c/p>\n\u003cp>Our treasure awaited in a DVD case on the shelves, but which one? Should we “Czech” the foreign film section? There was no foreign film section! Wait, we thought, he’s an employee here? Staff picks! The suspense was insurmountable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare11.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare12.jpg\">\u003c/p>\n\u003cp>Mike McConnell had left us a beautiful drawing incorporating symbols of our day, and it was better than anything we could’ve asked for. Plus, the thrill of the hunt was totally priceless. He soared to the top of our favorite artist list like a Pegasus with golden wings and a jetpack.\u003c/p>\n\u003cp>Go to 18 Reasons Gallery on May 16th. It’s your turn to hunt*.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare14.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*Hunting season begins at 1pm. Fifty trophies will be available.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent rainy Saturday, my pal \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I put on our galoshes and booked it to the Mission for an art treasure hunt presented by 18 Reasons Gallery, a community foodie/art haven funded by the Bi-Rite family whose name was inspired by a \u003ca href=\"http://wexfordgirl.typepad.com/wexford_girl/2008/09/17-reasons-why.html\" target=\"offsite\" rel=\"noopener\">famous sign\u003c/a> that once lived in the Mission.\u003c/p>\n\u003cp>For their annual \u003cb>Hare & Hounds\u003c/b> event, the gallery invited artists to create maps that lead to an original artwork hidden somewhere in the neighborhood. Upon purchase of a map, the art is yours to find and keep. Artist Mike McConnell graciously created a preview treasure hunt for us so we could relay the full experience in time for you to participate.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare1.jpg\">\u003c/p>\n\u003cp>The hunt was on. Our map came in the form of a dainty handmade book of clues created by McConnell, co-creator of \u003cb>Hare & Hounds\u003c/b>. The first clue led us to his doorstep so we’d know which bookshop was at the end of his street. It turned out to be the famous Adobe Books where we got derailed in the Back Room Gallery reading Griffin McPartland’s text-filled watercolor balloon paintings.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare2.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back on track, we took the Lewis Carroll hint and headed to the fiction section to discover a tiny note that would complete the puzzle on page two of our map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare4.jpg\">\u003c/p>\n\u003cp>The woman working at Adobe turned out to be \u003ca href=\"http://www.sonyaderman.com\" target=\"offsite\" rel=\"noopener\">Sonya Derman\u003c/a>, another artist contributing to this year’s \u003cb>Hare & Hounds\u003c/b> who plans to create a more traditional map. We asked her about Griffin McPartland’s ‘zines and she pointed us to Needles & Pens where we took a detour and chatted with owner Andrew Scott about their terrific new show, \u003cb>You’ve Got Light in Your Eyes\u003c/b>, curated by Meighan O’Toole. When we told him about the hunt we were about to resume, he pulled out another treasure map! Apparently there are many artist-made maps to explore in the Mission. Speaking of maps, you can see more photos from our \u003cb>Hare & Hounds\u003c/b> adventure on this \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=102095672140431052780.00046972c82c873b7cf7a&ll=37.770918,-122.421062&spn=0.00938,0.019934&z=16\" target=\"offsite\" rel=\"noopener\">Google Map\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare5.jpg\">\u003c/p>\n\u003cp>Next stop was the Curiosity Shoppe where Sarah Smith’s wooden arrows pointed north toward everyone’s favorite secondhand store (and our next map point), Thrift Town. After luxuriating in the curiosities of the Shoppe and playing with an ominous fortune teller, we meandered down Valencia, giggling about all the fun we were having. Then suddenly, drama ensued. We’d lost the map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare6.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare7.jpg\">\u003c/p>\n\u003cp>Steps were retraced and my heart raced, what if I’d dropped it? Someone would snatch it up and find my treasure! More importantly, it was a precious piece of art in itself, and losing it would be lousy. I tried not to burst through the Shoppe’s door when we returned to look for it, and I also tried not to squeal when I saw the little map there, safe and sound on the counter. I felt like a jerk, but it was like being in \u003cb>The Goonies\u003c/b>, losing a treasure map in the rain like that. And just like them, we prevailed.\u003c/p>\n\u003cp>Once more hot on the trail of our prize, we headed back toward Thrift Town to discover the name of the artist’s studio and favorite color. “Blue Studio!” Emmanuel cried out. Sweet victory.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare8.jpg\">\u003c/p>\n\u003cp>We sent a text message to an anonymous number for our next clue, which led us to Faye’s Video and coffee shop. We declared ourselves “The White Rabbit” as instructed and were handed our final hint on the bottom of a cup. “Czech out one of the artist’s (and employees here) favorite films.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare10.jpg\">\u003c/p>\n\u003cp>Our treasure awaited in a DVD case on the shelves, but which one? Should we “Czech” the foreign film section? There was no foreign film section! Wait, we thought, he’s an employee here? Staff picks! The suspense was insurmountable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare11.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare12.jpg\">\u003c/p>\n\u003cp>Mike McConnell had left us a beautiful drawing incorporating symbols of our day, and it was better than anything we could’ve asked for. Plus, the thrill of the hunt was totally priceless. He soared to the top of our favorite artist list like a Pegasus with golden wings and a jetpack.\u003c/p>\n\u003cp>Go to 18 Reasons Gallery on May 16th. It’s your turn to hunt*.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare14.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*Hunting season begins at 1pm. Fifty trophies will be available.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Skateboard art is naturally pegged as ratty and lowbrow. Of course, most people who skateboard can affectionately be lumped into the aforementioned categories. But what exactly is skate art? Is it art made \u003ci>by\u003c/i> skaters? Is it art made \u003ci>for\u003c/i> skaters? Can it be both, or neither? As much as I love skateboarding, I’m generally skeptical of skate art and its intent. I’m involuntarily attracted to skate related events, demos, premieres, screenings, etc. Usually it has to do with being in the same company of fellow skaters or nerding out when I see one of my childhood idols. But sometimes when I’m at these events, I’m faced with a nagging voice that tells me, “This doesn’t have anything to do with skateboarding. Let’s get out of here and go skate.”\u003c/p>\n\u003cp>Over the last two decades, street skateboarding has risen exponentially in popularity, spawning a number of undesirable cultural side effects, i.e., the X-Games, Tony Hawk Bagel Bite commercials and Bam Margera, to name a few. But it’s not just the commercial world that has an interest in skateboarding. The art community has taken notice and opened its doors to skate related work.\u003c/p>\n\u003cp>The Market Street Gallery’s current exhibition, \u003cb>Skate This Art\u003c/b>, is a benefit auction and fundraiser for Roaddawgz, a drop-in center for homeless youth in San Francisco’s Tenderloin neighborhood. The exhibit features over 50 artists including Jeremy Fish, Pobrecito, Matt Gonzalez (former San Francisco mayoral candidate and 2008 Green Party presidential running mate), Terry Marashlian, Jason Norelli, and Ah Young donating mostly custom-painted skateboard decks — a pretty literal interpretation of skate art, hence the title \u003cb>Skate This Art\u003c/b>. Unfortunately, I visited the gallery on their second day of the exhibition and the majority of the work had yet to be labeled with artist info and baseline bidding prices. A few workers were still busy hanging more boards and moving larger works around.\u003c/p>\n\u003cp>When I first walked into the gallery much of the artwork instantly reminded me of Haight Street. Many of the 100 plus skateboard decks hanging from the walls seem like they could also be for sale at a head shop, next to a Jerry Garcia t-shirt or a flaming 8-ball bong. You’ve got your dragons, sunsets, pop-culture stencils, amorphous blob doodles and even some dolphins. The decks on display are simply used as a canvas without much of a unifying theme. Art work is presented on long boards, short boards, broken boards and also furniture, including a chaise lounge comprised of 10 decks set at staggered heights. Most of the artists choose to draw or paint directly on the boards while a few use mixed media techniques or decorate them with stickers.\u003c/p>\n\u003cp>Ah Young’s contributions, yet to be labeled with a title by the curators, were definite standouts among the rest. Opting to use pieces of skateboards rather than a complete deck, Young constructed a vivid, multi-dimensional scene of the Golden Gate Bridge and San Francisco skyline. Although depicting the Golden Gate Bridge has become over trodden territory, Young’s execution makes it a success. The bite-size wooden scraps collected from colored skate decks are layered in a messy manner, giving the work depth and an almost animated quality. Since skate decks are typically made by gluing and pressing seven thin sheets of wood together, they become unusually splintered and cross-hatched when broken into pieces. This is what makes the work most engaging; instead of painting on decks, Young broke them down to create something entirely new.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artist Pobrecito employs a retro brown, yellow and red color palette with profile drawings of a few Latin looking, big-lipped, scraggly haired cartoon characters. I’ve seen his work before in San Francisco’s Mission district and regularly walk by one of his murals on Balmy Alley. Although his work is not blatantly comical it gets a laugh out of me every time. His characters look like they’ve been through the ringer but still maintain a hunger for life. Their twisted mugs ooze expression and glean a hint of hope.\u003c/p>\n\u003cp>To be fair, since the exhibition and auction benefits Roaddawgz, it would probably feel like a disconnect if the art was too clean and stuffy. The Haight Street vibe fits the stereotype of what a homeless youth drop-in center would be like, but let’s not jump to conclusions. It’s still a stereotype. Who knows where these kids come from or what their stories are. Not all of them have a pit bull on a chain and are asking you for money to buy weed. Roaddawgz helps struggling youth to develop technical training, job skills and offers art and literary activities where kids can receive cash payments for completed works. It’s just too bad \u003cb>Skate This Art\u003c/b> couldn’t have included more quality work. I’m sure Roaddawgz could use the funds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Skate this Art\u003c/b> is on display at the Market Street Gallery through May 31, 2009. For \u003ca href=\"http://www.marketstreetgallery.com\">more information\u003c/a>, visit marketstreetgallery.com\u003c/p>\n\n",
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"excerpt": "When I first walked into the gallery much of the artwork instantly reminded me of Haight Street. Many of the 100 plus skateboard decks hanging from the walls seem like they could also be for sale at a head shop, next to a Jerry Garcia t-shirt or a flaming 8-ball bong.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Skateboard art is naturally pegged as ratty and lowbrow. Of course, most people who skateboard can affectionately be lumped into the aforementioned categories. But what exactly is skate art? Is it art made \u003ci>by\u003c/i> skaters? Is it art made \u003ci>for\u003c/i> skaters? Can it be both, or neither? As much as I love skateboarding, I’m generally skeptical of skate art and its intent. I’m involuntarily attracted to skate related events, demos, premieres, screenings, etc. Usually it has to do with being in the same company of fellow skaters or nerding out when I see one of my childhood idols. But sometimes when I’m at these events, I’m faced with a nagging voice that tells me, “This doesn’t have anything to do with skateboarding. Let’s get out of here and go skate.”\u003c/p>\n\u003cp>Over the last two decades, street skateboarding has risen exponentially in popularity, spawning a number of undesirable cultural side effects, i.e., the X-Games, Tony Hawk Bagel Bite commercials and Bam Margera, to name a few. But it’s not just the commercial world that has an interest in skateboarding. The art community has taken notice and opened its doors to skate related work.\u003c/p>\n\u003cp>The Market Street Gallery’s current exhibition, \u003cb>Skate This Art\u003c/b>, is a benefit auction and fundraiser for Roaddawgz, a drop-in center for homeless youth in San Francisco’s Tenderloin neighborhood. The exhibit features over 50 artists including Jeremy Fish, Pobrecito, Matt Gonzalez (former San Francisco mayoral candidate and 2008 Green Party presidential running mate), Terry Marashlian, Jason Norelli, and Ah Young donating mostly custom-painted skateboard decks — a pretty literal interpretation of skate art, hence the title \u003cb>Skate This Art\u003c/b>. Unfortunately, I visited the gallery on their second day of the exhibition and the majority of the work had yet to be labeled with artist info and baseline bidding prices. A few workers were still busy hanging more boards and moving larger works around.\u003c/p>\n\u003cp>When I first walked into the gallery much of the artwork instantly reminded me of Haight Street. Many of the 100 plus skateboard decks hanging from the walls seem like they could also be for sale at a head shop, next to a Jerry Garcia t-shirt or a flaming 8-ball bong. You’ve got your dragons, sunsets, pop-culture stencils, amorphous blob doodles and even some dolphins. The decks on display are simply used as a canvas without much of a unifying theme. Art work is presented on long boards, short boards, broken boards and also furniture, including a chaise lounge comprised of 10 decks set at staggered heights. Most of the artists choose to draw or paint directly on the boards while a few use mixed media techniques or decorate them with stickers.\u003c/p>\n\u003cp>Ah Young’s contributions, yet to be labeled with a title by the curators, were definite standouts among the rest. Opting to use pieces of skateboards rather than a complete deck, Young constructed a vivid, multi-dimensional scene of the Golden Gate Bridge and San Francisco skyline. Although depicting the Golden Gate Bridge has become over trodden territory, Young’s execution makes it a success. The bite-size wooden scraps collected from colored skate decks are layered in a messy manner, giving the work depth and an almost animated quality. Since skate decks are typically made by gluing and pressing seven thin sheets of wood together, they become unusually splintered and cross-hatched when broken into pieces. This is what makes the work most engaging; instead of painting on decks, Young broke them down to create something entirely new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artist Pobrecito employs a retro brown, yellow and red color palette with profile drawings of a few Latin looking, big-lipped, scraggly haired cartoon characters. I’ve seen his work before in San Francisco’s Mission district and regularly walk by one of his murals on Balmy Alley. Although his work is not blatantly comical it gets a laugh out of me every time. His characters look like they’ve been through the ringer but still maintain a hunger for life. Their twisted mugs ooze expression and glean a hint of hope.\u003c/p>\n\u003cp>To be fair, since the exhibition and auction benefits Roaddawgz, it would probably feel like a disconnect if the art was too clean and stuffy. The Haight Street vibe fits the stereotype of what a homeless youth drop-in center would be like, but let’s not jump to conclusions. It’s still a stereotype. Who knows where these kids come from or what their stories are. Not all of them have a pit bull on a chain and are asking you for money to buy weed. Roaddawgz helps struggling youth to develop technical training, job skills and offers art and literary activities where kids can receive cash payments for completed works. It’s just too bad \u003cb>Skate This Art\u003c/b> couldn’t have included more quality work. I’m sure Roaddawgz could use the funds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Skate this Art\u003c/b> is on display at the Market Street Gallery through May 31, 2009. For \u003ca href=\"http://www.marketstreetgallery.com\">more information\u003c/a>, visit marketstreetgallery.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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