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"content": "\u003cp>The centerpieces of \u003cb>From the Bronze Age of China to Japan’s Floating World\u003c/b>, now through October 18, 2009 at the Cantor Arts Center, are a handful of Chinese bronzes dated 1600-700 BCE. As the first things you see upon entering the Ruth Levison Halperin Gallery from the stairs of the Cantor’s front entrance, they have been given a place of prominence. I guess I appreciate the historical importance of these somber pieces, and I find their forms to be perfectly admirable and appealing, but I have to confess that I was nowhere near as excited by these ancient artifacts as I was the profusion of woodblock prints in this modest and handsome show.\u003c/p>\n\u003cp>A pair of Chinese New Year’s woodblocks from the first half of the 20th century caught my eye first. Printed sometime between 1911 and 1949, these prints are rich with gaudy colors and almost hallucinatory forms. \u003cb>Boy and Fish or Abundance\u003c/b> is a good example of this genre, meant to ensure prosperity in the coming year. In it, a chubby, rosy-cheeked child is delighting in his grasp of an enormous, bug-eyed fish (a carp, to my untrained eye), which is almost as massive as he is. I particularly liked the lad’s red lips, which are shameless in their projection of good health and prosperity.\u003c/p>\n\u003cp>Next to this exuberant piece are several more — sober examples of Chinese woodblock styles. \u003cb>Everyone Hates the Traitor-thief Jiang (Chiang Kai-shek)\u003c/b>, by Gu Yiehou, is as unsubtle as its title suggests. Created after the close of World War II, the political cartoon depicts the U.S. war ally and his grotesque posse as betrayers, sycophants, and puppets — in one case, literally. Equally propagandistic is \u003cb>Getting Back Our Food and Livestock\u003c/b>, by Wo Zha from the same period. Gone are the garish hues of the New Year’s prints or even the aforementioned cartoon. Instead, the artist gives us a stark black-and-white scene showing the explosive, blood-soaked liberation of goats and cattle from Japanese invaders.\u003c/p>\n\u003cp>For their part, the Japanese were equally fond of a good political cartoon. \u003cb>Battle of the Currencies\u003c/b>, an 1873 print by Keisai Yoshiiku, is an early form of manga that shows British and Japanese currencies in surreal, hand-to-hand combat.\u003c/p>\n\u003cp>Other pieces suggest magical realism. My favorite object in this category — indeed, in the entire show — is \u003cb>Minamoto no Yorimitsu Striking at the Ground Spider\u003c/b>, an 1892 woodblock by Tsukioka Yoshitoshi. In it, a maniacal spider disguised as a Shinto priest is draping its sheet-like web over our hero, who is pulling his sword to subdue the monstrous creature. Get really close, and you can see an extraordinarily delicate textured pattern of squares within squares on the man’s robe, which is a lovely contrast to the wood grain behind the beast. I can’t tell you whether this late 19th-century print is a greater technical advance than a 3,000-year-old bronze serving dish; I’m hoping it doesn’t matter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>From the Bronze Age of China to Japan’s Floating World\u003c/b> runs through October 18, 2009 at the Cantor Arts Center at Stanford University. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit museum.stanford.edu.\u003c/p>\n\n",
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"content": "\u003cp>I had a pretty sweet childhood. You? Atari 2600. \u003cb>Star Wars\u003c/b> (the real \u003cb>Star Wars\u003c/b>, the Mark Hamill, Carrie Fisher, Harrison Ford one). Legos. Matchbox cars. And comic books, musty, yellow-paged comic books. The faded, muted-color comic books. A whole new visual and written world of “Richie Rich” escapades and “Archie” adventures. Fast forward to 21st-century San Francisco, and I’m itchin’ to rediscover my comic book roots. I head down the hill to the Cartoon Art Museum, maneuver past the pre-teens in the lobby, and duck into the galleries.\u003c/p>\n\u003cp>Oh wow. Rich drawings of Disney’s \u003cb>Sleeping Beauty\u003c/b> hang in one room. Drool-worthy animation from \u003cb>Little Mermaid\u003c/b> and \u003cb>Roger Rabbit\u003c/b> in another. I, however, while away my time in the room devoted to \u003cb>Monsters of Webcomics\u003c/b>. The exhibit, which winds around the entire room, features ten artists who’ve taken their comic drawing skillz to the world wide web. Each artist is given about 5 feet of wall space to hang their framed strips. While the lights are a bit too dim for a gallery displaying such detailed work, I am still able to geek out. The featured comics are an eclectic mix ranging from short strips to full-length graphic novels, including comedy, drama, history, science fiction, and socio-political commentary. Any webcomic not represented on the walls is given its due in a virtual gallery. And, yes, I realize the irony of going to a museum to see art created for the web. However, some things cannot be found online. An interview with the artist begins each exhibit. Also on display are drawings detailing the step-by-step process from thumbnail to coloring and rendering to the final page.\u003c/p>\n\u003cp>These days the world wide web spells doomsday for print media (so sad), but for comic book writers, it means something else. These artists can reach a wider audience and tackle subject matter most comic book publishers wouldn’t touch. It’s the “path of least resistance…and it’s easier to merchandise,” says Chris Onstad of \u003ca href=\"http://achewood.com/\">Achewood\u003c/a>, a popular, character-driven webcomic that follows the tragi-comic lives of woodland creatures. Spike writes \u003ca href=\"http://templaraz.com/\">Templar, AZ\u003c/a>, which follows fictional people in a fictional town in black and white. He says that his comic, being long and plot driven, was destined to be thousands of pages and wanted it to be 100% available at all times to readers so that they could start at the beginning.\u003c/p>\n\u003cp>The sound of two young women giggling just a few feat away interrupts my reading. I saunter over. It’s a black and white pencil-figured comic strip called \u003ca href=\"http://www.harkavagrant.com/\">Hark! A Vagrant!\u003c/a> by Kate Beaton, which cartoons historical figures: George Washington celebrating the 4th of July with a young 21st century girl by “crossing the shit over the Delaware” and “eating some barbeques.” Santa Claus demanding: “Woman, where are my cookies?” A depressed Mary Shelley distraught that she must constantly refuse the sexual advances of one Lord Byron. In her interview Kate mentions, “If it weren’t for the internet, I’m sure no one would have seen my comics aside from my friends.”\u003c/p>\n\u003cp>Another favorite comic from the exhibit is \u003ca href=\"http://pbfcomics.com/\">The Perry Bible Fellowship\u003c/a> by Nicholas Gurewitch, who draws dark and twisted gags in lush color or black and white. One comic depicts a soldier’s marriage proposal to a young woman by spelling out “Will You Marry Me” using the dead bodies strewn on a Normandy-like beach. Gurewitch says he’s chosen to publish online because, “I should not excuse myself from the downfall of the rest of civilization.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comics I read when I was a kid had glossy covers and carpaccio thin pages with somewhat smudged illustrations, not that I ever minded. I revered them and still have a collection of dozens. Now I’m all grown up — and so is Archie. He has even \u003ca href=\"http://www.cnn.com/2009/SHOWBIZ/books/05/28/comic..book.archie.marrying/index.html\" target=\"offiste\" rel=\"noopener\">proposed to Veronica\u003c/a>. Thanks to the web, comic writers can reach a much larger audience, create work in their own time, and bypass any creative constraints of a publisher or editor. The “Monsters” are out and on display at the Cartoon Art Museum. I still miss the musty smell of comic books though.\u003c/p>\n\u003cp>Very cool heads up: Nicholas Gurewitch of \u003cb>The Perry Bible Fellowship\u003c/b> fame will be at the Cartoon Art Museum Friday, August 28, 2009 from 7-9pm to discuss his creative process. Q & A to follow! Call 415-227-8666, ext 313 for reservations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Monsters of Webcomics\u003c/b> is up through December 9, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I had a pretty sweet childhood. You? Atari 2600. \u003cb>Star Wars\u003c/b> (the real \u003cb>Star Wars\u003c/b>, the Mark Hamill, Carrie Fisher, Harrison Ford one). Legos. Matchbox cars. And comic books, musty, yellow-paged comic books. The faded, muted-color comic books. A whole new visual and written world of “Richie Rich” escapades and “Archie” adventures. Fast forward to 21st-century San Francisco, and I’m itchin’ to rediscover my comic book roots. I head down the hill to the Cartoon Art Museum, maneuver past the pre-teens in the lobby, and duck into the galleries.\u003c/p>\n\u003cp>Oh wow. Rich drawings of Disney’s \u003cb>Sleeping Beauty\u003c/b> hang in one room. Drool-worthy animation from \u003cb>Little Mermaid\u003c/b> and \u003cb>Roger Rabbit\u003c/b> in another. I, however, while away my time in the room devoted to \u003cb>Monsters of Webcomics\u003c/b>. The exhibit, which winds around the entire room, features ten artists who’ve taken their comic drawing skillz to the world wide web. Each artist is given about 5 feet of wall space to hang their framed strips. While the lights are a bit too dim for a gallery displaying such detailed work, I am still able to geek out. The featured comics are an eclectic mix ranging from short strips to full-length graphic novels, including comedy, drama, history, science fiction, and socio-political commentary. Any webcomic not represented on the walls is given its due in a virtual gallery. And, yes, I realize the irony of going to a museum to see art created for the web. However, some things cannot be found online. An interview with the artist begins each exhibit. Also on display are drawings detailing the step-by-step process from thumbnail to coloring and rendering to the final page.\u003c/p>\n\u003cp>These days the world wide web spells doomsday for print media (so sad), but for comic book writers, it means something else. These artists can reach a wider audience and tackle subject matter most comic book publishers wouldn’t touch. It’s the “path of least resistance…and it’s easier to merchandise,” says Chris Onstad of \u003ca href=\"http://achewood.com/\">Achewood\u003c/a>, a popular, character-driven webcomic that follows the tragi-comic lives of woodland creatures. Spike writes \u003ca href=\"http://templaraz.com/\">Templar, AZ\u003c/a>, which follows fictional people in a fictional town in black and white. He says that his comic, being long and plot driven, was destined to be thousands of pages and wanted it to be 100% available at all times to readers so that they could start at the beginning.\u003c/p>\n\u003cp>The sound of two young women giggling just a few feat away interrupts my reading. I saunter over. It’s a black and white pencil-figured comic strip called \u003ca href=\"http://www.harkavagrant.com/\">Hark! A Vagrant!\u003c/a> by Kate Beaton, which cartoons historical figures: George Washington celebrating the 4th of July with a young 21st century girl by “crossing the shit over the Delaware” and “eating some barbeques.” Santa Claus demanding: “Woman, where are my cookies?” A depressed Mary Shelley distraught that she must constantly refuse the sexual advances of one Lord Byron. In her interview Kate mentions, “If it weren’t for the internet, I’m sure no one would have seen my comics aside from my friends.”\u003c/p>\n\u003cp>Another favorite comic from the exhibit is \u003ca href=\"http://pbfcomics.com/\">The Perry Bible Fellowship\u003c/a> by Nicholas Gurewitch, who draws dark and twisted gags in lush color or black and white. One comic depicts a soldier’s marriage proposal to a young woman by spelling out “Will You Marry Me” using the dead bodies strewn on a Normandy-like beach. Gurewitch says he’s chosen to publish online because, “I should not excuse myself from the downfall of the rest of civilization.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comics I read when I was a kid had glossy covers and carpaccio thin pages with somewhat smudged illustrations, not that I ever minded. I revered them and still have a collection of dozens. Now I’m all grown up — and so is Archie. He has even \u003ca href=\"http://www.cnn.com/2009/SHOWBIZ/books/05/28/comic..book.archie.marrying/index.html\" target=\"offiste\" rel=\"noopener\">proposed to Veronica\u003c/a>. Thanks to the web, comic writers can reach a much larger audience, create work in their own time, and bypass any creative constraints of a publisher or editor. The “Monsters” are out and on display at the Cartoon Art Museum. I still miss the musty smell of comic books though.\u003c/p>\n\u003cp>Very cool heads up: Nicholas Gurewitch of \u003cb>The Perry Bible Fellowship\u003c/b> fame will be at the Cartoon Art Museum Friday, August 28, 2009 from 7-9pm to discuss his creative process. Q & A to follow! Call 415-227-8666, ext 313 for reservations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Monsters of Webcomics\u003c/b> is up through December 9, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>These days, phrases like “global warming” and “climate change” seem to have lost their edge. Once we get past the increasingly silly debate over whether or not the threat is real, it seems like the problem and its causes are just too huge for any one person to grasp. Start talking about carbon footprints or cap-and-trade agreements and the general populace decides that this is all way too confusing and changes the channel to something along the lines of VH1’s \u003ca href=\"http://www.vh1.com/shows/series/rock_of_love_charm_school/\">Rock of Love Charm School\u003c/a> (oh no she didn’t!!!).\u003c/p>\n\u003cp>Christel Dillbohner’s work forces us to change the channel back. While it might not be the stuff of VH1’s \u003cb>Celebreality\u003c/b>, it offers something that is too often missing from any discussion about the environment: an expression of one’s personal relationship with Planet Earth. No longer is the idea of climate change some nebulous concept; with Dillbohner’s work it becomes an experience filled with texture and movement. Dillbohner has said that the idea of a journey is central to her artwork, and that philosophy is apparent in \u003cb>Ice Floe\u003c/b>, her latest exhibition at the San Jose Institute of Contemporary Art.\u003c/p>\n\u003cp>\u003cb>Ice Floe\u003c/b> is a site-specific installation of thousands of pigment-dipped cones that is meant to conjure images of melting ice packs in the Arctic. It is a multi-sensory experience, described by the artists as a “three-dimensional painting.” Bright blues and greens disappear into pure whites and the entire installation can move with the slightest influx of air, or with a haphazard brush by a patron. The physical quality of the installation inherently makes it more personal; any given person’s presence forces this piece into a new direction, beautifully mirroring an individual’s impact on their environment.\u003c/p>\n\u003cp>Another Dillbohner installation, \u003cb>Arctic Circle\u003c/b>, consists of nine panels of framed assemblages placed side-by-side. This arrangement suggests some sort of chronology, another journey that flows like the imagined ice pack on the floor below. These panels are filled with natural objects, like dried flowers found near Dillbohner’s studio in Berkeley. However, the wax covering over the panels dilutes these images, creating a barren landscape. Like the cones in \u003cb>Ice Floe\u003c/b>, these panels are textural, strangely inviting the viewer to come inside the arctic world that Dillbohner has created.\u003c/p>\n\u003cp>\u003cb>Polar Journey\u003c/b>, a collection of 62 monoprints Dillbohner created during a two-week residency at ICA, invite visions of a dreamy passage through a forsaken land. Again, the tactile nature of the display offers a relatable and tangible representation of a part of the world that is rapidly slipping away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I find it really exciting to see artists like Dillbohner address this subject matter in such a finessed, yet accessible way. And she’s not the only one! The exhibition in SJICA’s main gallery, called \u003cb>NextNew: Green\u003c/b>, features more perspectives on environmental issues in really interesting mediums (raise your hand if you like Frankenstein-esque bird creations made from parts of different children’s toys… that chirp).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris Dillbohner: Ice Floe\u003c/b> is on display at the San Jose Institute of Contemporary Art through September 20, 2009. For \u003ca href=\"http://www.sjica.org/exhibitions/Dillbohner_Christel/Christel_Dillbohner.html\">more information\u003c/a> visit sjica.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, phrases like “global warming” and “climate change” seem to have lost their edge. Once we get past the increasingly silly debate over whether or not the threat is real, it seems like the problem and its causes are just too huge for any one person to grasp. Start talking about carbon footprints or cap-and-trade agreements and the general populace decides that this is all way too confusing and changes the channel to something along the lines of VH1’s \u003ca href=\"http://www.vh1.com/shows/series/rock_of_love_charm_school/\">Rock of Love Charm School\u003c/a> (oh no she didn’t!!!).\u003c/p>\n\u003cp>Christel Dillbohner’s work forces us to change the channel back. While it might not be the stuff of VH1’s \u003cb>Celebreality\u003c/b>, it offers something that is too often missing from any discussion about the environment: an expression of one’s personal relationship with Planet Earth. No longer is the idea of climate change some nebulous concept; with Dillbohner’s work it becomes an experience filled with texture and movement. Dillbohner has said that the idea of a journey is central to her artwork, and that philosophy is apparent in \u003cb>Ice Floe\u003c/b>, her latest exhibition at the San Jose Institute of Contemporary Art.\u003c/p>\n\u003cp>\u003cb>Ice Floe\u003c/b> is a site-specific installation of thousands of pigment-dipped cones that is meant to conjure images of melting ice packs in the Arctic. It is a multi-sensory experience, described by the artists as a “three-dimensional painting.” Bright blues and greens disappear into pure whites and the entire installation can move with the slightest influx of air, or with a haphazard brush by a patron. The physical quality of the installation inherently makes it more personal; any given person’s presence forces this piece into a new direction, beautifully mirroring an individual’s impact on their environment.\u003c/p>\n\u003cp>Another Dillbohner installation, \u003cb>Arctic Circle\u003c/b>, consists of nine panels of framed assemblages placed side-by-side. This arrangement suggests some sort of chronology, another journey that flows like the imagined ice pack on the floor below. These panels are filled with natural objects, like dried flowers found near Dillbohner’s studio in Berkeley. However, the wax covering over the panels dilutes these images, creating a barren landscape. Like the cones in \u003cb>Ice Floe\u003c/b>, these panels are textural, strangely inviting the viewer to come inside the arctic world that Dillbohner has created.\u003c/p>\n\u003cp>\u003cb>Polar Journey\u003c/b>, a collection of 62 monoprints Dillbohner created during a two-week residency at ICA, invite visions of a dreamy passage through a forsaken land. Again, the tactile nature of the display offers a relatable and tangible representation of a part of the world that is rapidly slipping away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I find it really exciting to see artists like Dillbohner address this subject matter in such a finessed, yet accessible way. And she’s not the only one! The exhibition in SJICA’s main gallery, called \u003cb>NextNew: Green\u003c/b>, features more perspectives on environmental issues in really interesting mediums (raise your hand if you like Frankenstein-esque bird creations made from parts of different children’s toys… that chirp).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris Dillbohner: Ice Floe\u003c/b> is on display at the San Jose Institute of Contemporary Art through September 20, 2009. For \u003ca href=\"http://www.sjica.org/exhibitions/Dillbohner_Christel/Christel_Dillbohner.html\">more information\u003c/a> visit sjica.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. Armed with one camera and a microphone, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I headed to Michael Rosenthal Gallery, which is nearing its one-year anniversary in The Mission. We were excited to see LA Artist \u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>‘s embroidered masterpieces (a crowd favorite), and we were also determined to find out what was up with the group show’s perplexing title, \u003cb>Annual Biennial\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/michael-rosenthal.jpg\">\u003c/p>\n\u003cp>\u003cb>Michael Rosenthal, Gallery Owner\u003c/b>\u003cbr>“The Annual Bienial is a celebration of all the great artists that I get to work with. We have Megan Whitmarsh’s work, Jane Fine from New York, and a whole host of people who I really love working with. I love anything that’s ironic so I thought of that name [Annual Biennial] and I thought, ‘Why not make people confused if I can?’ And I don’t do anything straightforward so it’s an example of my humor.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/megan-whitmarsh.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>, Annual Biennial Artist\u003c/b>\u003cbr>“I want to make things because I can’t help it, but at the same time I feel sort of freaked out by how much stuff there is in the world, so when I do make stuff I want to be really conscious about it and I want to contribute to the beauty and optimism of the world. I was a big fan of \u003cb>The Muppet Show\u003c/b> as a kid and, when I moved to New York, I saw the pilot at the Museum of Television and Radio and it was the first time I saw it as art rather than just a TV show. I realized that just by really believing in your own eccentric, weird vision you can express what you’re feeling to other people and it radiates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/adrianna-carillo.jpg\">\u003c/p>\n\u003cp>\u003cb>Adrianna Carillo next to a painting by her husband, \u003ca href=\"http://www.neoimages.net/artistportfolio.aspx?pid=1765\" target=\"offsite\" rel=\"noopener\">Carl Auge\u003c/a>\u003c/b>\u003cbr>“I miss this being above my fireplace. I like it because Carl doesn’t use these colors very often. This is an image he’s used a number of times, but in this bright color it looks really different. When people see it, sometimes they don’t know what it is. People will either say it’s a building or a dock because the colors make them think of water, but it’s actually a pyramid from Northern Africa.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-vreeburg.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Vreeburg and Bailey the Wonderdog\u003c/b>\u003cbr>“I like [Emily Sevier’s paintings] because I liked being naked myself. The one on the right reminds me of the John Lennon Rolling Stone cover and other than that I just like naked people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/caitlin-denny.jpg\">\u003c/p>\n\u003cp>\u003cb>Caitlin Denny [right] with Maureen Mulhern, Rosenthal Gallery staff\u003c/b>\u003cbr>“My favorite is Megan Whitmarsh’s \u003cb>Color Dance Bomb\u003c/b> [pictured below]; the layers are so spectacular, it just jumps out at you, it’s a fun piece.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/matt-furie.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.mattfurie.com/\" target=\"offsite\" rel=\"noopener\">Matt Furie\u003c/a>, local artist showing at \u003ca href=\"http://www.gr-sf.com/\" target=\"offsite\" rel=\"noopener\">Giant Robot Gallery\u003c/a> later this month\u003c/b>\u003cbr>“I came here to see my friend Megan’s artwork. I actually just showed with her down in LA at the \u003ca href=\"http://www.newimageartgallery.com/\" target=\"offiste\" rel=\"noopener\">New Image Art gallery\u003c/a>. I’m really excited about her work, I like the painstaking embroidery and the different characters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. Armed with one camera and a microphone, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I headed to Michael Rosenthal Gallery, which is nearing its one-year anniversary in The Mission. We were excited to see LA Artist \u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>‘s embroidered masterpieces (a crowd favorite), and we were also determined to find out what was up with the group show’s perplexing title, \u003cb>Annual Biennial\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/michael-rosenthal.jpg\">\u003c/p>\n\u003cp>\u003cb>Michael Rosenthal, Gallery Owner\u003c/b>\u003cbr>“The Annual Bienial is a celebration of all the great artists that I get to work with. We have Megan Whitmarsh’s work, Jane Fine from New York, and a whole host of people who I really love working with. I love anything that’s ironic so I thought of that name [Annual Biennial] and I thought, ‘Why not make people confused if I can?’ And I don’t do anything straightforward so it’s an example of my humor.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/megan-whitmarsh.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://meganwhitmarsh.com\" target=\"offsite\" rel=\"noopener\">Megan Whitmarsh\u003c/a>, Annual Biennial Artist\u003c/b>\u003cbr>“I want to make things because I can’t help it, but at the same time I feel sort of freaked out by how much stuff there is in the world, so when I do make stuff I want to be really conscious about it and I want to contribute to the beauty and optimism of the world. I was a big fan of \u003cb>The Muppet Show\u003c/b> as a kid and, when I moved to New York, I saw the pilot at the Museum of Television and Radio and it was the first time I saw it as art rather than just a TV show. I realized that just by really believing in your own eccentric, weird vision you can express what you’re feeling to other people and it radiates.”\u003c/p>\n\u003cp>\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/adrianna-carillo.jpg\">\u003c/p>\n\u003cp>\u003cb>Adrianna Carillo next to a painting by her husband, \u003ca href=\"http://www.neoimages.net/artistportfolio.aspx?pid=1765\" target=\"offsite\" rel=\"noopener\">Carl Auge\u003c/a>\u003c/b>\u003cbr>“I miss this being above my fireplace. I like it because Carl doesn’t use these colors very often. This is an image he’s used a number of times, but in this bright color it looks really different. When people see it, sometimes they don’t know what it is. People will either say it’s a building or a dock because the colors make them think of water, but it’s actually a pyramid from Northern Africa.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-vreeburg.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Vreeburg and Bailey the Wonderdog\u003c/b>\u003cbr>“I like [Emily Sevier’s paintings] because I liked being naked myself. The one on the right reminds me of the John Lennon Rolling Stone cover and other than that I just like naked people.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/caitlin-denny.jpg\">\u003c/p>\n\u003cp>\u003cb>Caitlin Denny [right] with Maureen Mulhern, Rosenthal Gallery staff\u003c/b>\u003cbr>“My favorite is Megan Whitmarsh’s \u003cb>Color Dance Bomb\u003c/b> [pictured below]; the layers are so spectacular, it just jumps out at you, it’s a fun piece.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/matt-furie.jpg\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.mattfurie.com/\" target=\"offsite\" rel=\"noopener\">Matt Furie\u003c/a>, local artist showing at \u003ca href=\"http://www.gr-sf.com/\" target=\"offsite\" rel=\"noopener\">Giant Robot Gallery\u003c/a> later this month\u003c/b>\u003cbr>“I came here to see my friend Megan’s artwork. I actually just showed with her down in LA at the \u003ca href=\"http://www.newimageartgallery.com/\" target=\"offiste\" rel=\"noopener\">New Image Art gallery\u003c/a>. I’m really excited about her work, I like the painstaking embroidery and the different characters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Full Immersion: Public Art Network's Favorite Bay Area Pieces",
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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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"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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"headTitle": "3-for-1 at SF Camerawork | KQED",
"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",
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"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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"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": "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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"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.",
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"possible": {
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"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.",
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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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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