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"content": "\u003cp>For Fan Ho, whose exhibition \u003cb>The Living Theatre\u003c/b> coincides with the publication of a limited edition art book of the same name, Hong Kong is a shadow-filled and smoky place, where children grasp what they can of their youth and everyone else toils in placid determination. Consisting of 150 photographs taken immediately after World War II, Ho shot the bulk of these photos when he was in his 20s — some were snapped when he was still in his teens. All reflect his then-youthful eye, which was not yet mature enough to dismiss even the most minor details of the spectacle before him. Lucky us.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/profile.jsp?essid=6310\">Modernbook Gallery\u003c/a> has done a fine job of bringing Ho’s Hong Kong, with its gorgeously bleak cityscape and densely packed harbor, to life. The multi-level gallery, as well as the loft above it, is crammed with Ho’s pictures, which themselves are filled with every nook and cranny of Hong Kong. Some have been reproduced in large, eye-catching formats that draw us in from across the room. Other images are tiny, swimming within frames that are deliberately grander than their contact-sheet size. Just about all are vintage prints from a half-century ago. Many were developed in Ho’s bathtub.\u003c/p>\n\u003cp>As a portrait of a place long gone, Ho’s work is an indispensible time capsule, but it is also very smart art. Ho has a terrific sense of composition, capturing life in the slums of Hong Kong with both affection and perception. Ho does not glorify his subjects — he does place the men, women, and street urchins that people his photographs on pedestals for suffering the burdens of their lower-than-proletariat stations in life. But Ho is a good reporter, and report he does on what he calls, in one image from 1957, the “unceasing toil” of life in post-war Hong Kong. His camera does not flinch, but the artist is not intent on shocking us into doing the same. We see what he saw, and all we can do is marvel at the terrible beauty of it all.\u003c/p>\n\u003cp>Several themes emerge. First and foremost, there is the work. Men swing picks in a stone quarry, others shovel aside their comrades’ debris. Men and women alike are pressed into service, pushing the poles of their sampans to make their way from point to point in the busy harbor, in search of what are doubtless meager rewards. Men and women also carry baskets, each suspended from the end of a bamboo pole. The contraption, known as a dam chi, which literally means “carry burden,” appears to ride effortlessly on their stooped shoulders, but we know that unpadded piece of bamboo, torqued by the weights swinging from its ends, must dig hard into the beaten bodies of their bearers. Smoke from fires, smoke from dust, smoke from sweaty humanity pressed tightly together fills the air.\u003c/p>\n\u003cp>Ho’s Hong Kong is also a place of patterns captured for their own sake. We see the repetition of open windows in a back alley, rectangles of white against the black and the gray. A stairway lit from somewhere above disintegrates before our eyes into an abstract composition of horizontal parallel lines bisected by a vertical shaft of light that is, in fact, the stairway’s center handrail. In other pictures, we are flat-out fooled, as in the photograph of a woman cleaning a set of Venetian blinds. More horizontal lines, we think, until we notice — and not at first — that she is attired in a vertically striped pantsuit. Gotcha, smiles the artist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there are children of Ho’s Hong Kong, who were closer in age to their photographer than Ho’s adult subjects were. Is it this chronological proximity that permits Ho to put us in both the mind of the mother who is teaching her child to walk and the child, for whom the vast distance between herself and her mother appears to have reduced the child to tears? Ho feels the struggle of the child, but he also understands that this mother needs to make her daughter tough, and fast. Once she is old enough to walk and carry a younger sibling, she will be asked to do just that. How do we know this? Because Ho has a picture of that, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Living Theatre\u003c/b> runs through July 31, 2009 at Modernbook Gallery in Palo Alto. For \u003ca href=\"http://www.modernbook.com/static.html\" target=\"offsite\" rel=\"noopener\">further information\u003c/a>, visit modernbook.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Fan Ho, whose exhibition \u003cb>The Living Theatre\u003c/b> coincides with the publication of a limited edition art book of the same name, Hong Kong is a shadow-filled and smoky place, where children grasp what they can of their youth and everyone else toils in placid determination. Consisting of 150 photographs taken immediately after World War II, Ho shot the bulk of these photos when he was in his 20s — some were snapped when he was still in his teens. All reflect his then-youthful eye, which was not yet mature enough to dismiss even the most minor details of the spectacle before him. Lucky us.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/profile.jsp?essid=6310\">Modernbook Gallery\u003c/a> has done a fine job of bringing Ho’s Hong Kong, with its gorgeously bleak cityscape and densely packed harbor, to life. The multi-level gallery, as well as the loft above it, is crammed with Ho’s pictures, which themselves are filled with every nook and cranny of Hong Kong. Some have been reproduced in large, eye-catching formats that draw us in from across the room. Other images are tiny, swimming within frames that are deliberately grander than their contact-sheet size. Just about all are vintage prints from a half-century ago. Many were developed in Ho’s bathtub.\u003c/p>\n\u003cp>As a portrait of a place long gone, Ho’s work is an indispensible time capsule, but it is also very smart art. Ho has a terrific sense of composition, capturing life in the slums of Hong Kong with both affection and perception. Ho does not glorify his subjects — he does place the men, women, and street urchins that people his photographs on pedestals for suffering the burdens of their lower-than-proletariat stations in life. But Ho is a good reporter, and report he does on what he calls, in one image from 1957, the “unceasing toil” of life in post-war Hong Kong. His camera does not flinch, but the artist is not intent on shocking us into doing the same. We see what he saw, and all we can do is marvel at the terrible beauty of it all.\u003c/p>\n\u003cp>Several themes emerge. First and foremost, there is the work. Men swing picks in a stone quarry, others shovel aside their comrades’ debris. Men and women alike are pressed into service, pushing the poles of their sampans to make their way from point to point in the busy harbor, in search of what are doubtless meager rewards. Men and women also carry baskets, each suspended from the end of a bamboo pole. The contraption, known as a dam chi, which literally means “carry burden,” appears to ride effortlessly on their stooped shoulders, but we know that unpadded piece of bamboo, torqued by the weights swinging from its ends, must dig hard into the beaten bodies of their bearers. Smoke from fires, smoke from dust, smoke from sweaty humanity pressed tightly together fills the air.\u003c/p>\n\u003cp>Ho’s Hong Kong is also a place of patterns captured for their own sake. We see the repetition of open windows in a back alley, rectangles of white against the black and the gray. A stairway lit from somewhere above disintegrates before our eyes into an abstract composition of horizontal parallel lines bisected by a vertical shaft of light that is, in fact, the stairway’s center handrail. In other pictures, we are flat-out fooled, as in the photograph of a woman cleaning a set of Venetian blinds. More horizontal lines, we think, until we notice — and not at first — that she is attired in a vertically striped pantsuit. Gotcha, smiles the artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there are children of Ho’s Hong Kong, who were closer in age to their photographer than Ho’s adult subjects were. Is it this chronological proximity that permits Ho to put us in both the mind of the mother who is teaching her child to walk and the child, for whom the vast distance between herself and her mother appears to have reduced the child to tears? Ho feels the struggle of the child, but he also understands that this mother needs to make her daughter tough, and fast. Once she is old enough to walk and carry a younger sibling, she will be asked to do just that. How do we know this? Because Ho has a picture of that, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Living Theatre\u003c/b> runs through July 31, 2009 at Modernbook Gallery in Palo Alto. For \u003ca href=\"http://www.modernbook.com/static.html\" target=\"offsite\" rel=\"noopener\">further information\u003c/a>, visit modernbook.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Warren MacKenzie has achieved venerable status as a leading 20th century ceramic artist, yet his work is not high-falutin’ art with a capital “A.” Instead, Machenzie has spent a lifetime creating simple, dignified — and always utilitarian — hand-thrown pieces of pottery.\u003c/p>\n\u003cp>The Museum of Craft and Folk Art’s new retrospective, \u003cb>Warren MacKenzie: Legacy of an American Potter\u003c/b> includes casserole dishes, mugs and plates. Items that you want to reach out and cup with your palms. Items that would warm up a kitchen table on a chilly winter’s evening.\u003c/p>\n\u003cp>MacKenize originally studied to be a painter, and created hard-edged, geometric work. But World War II interfered. When he returned to art school, the painting department was full and he turned instead to ceramics. He dedicated himself to functional pottery, drawing heavily on Japanese and Korean ceramic traditions.\u003c/p>\n\u003cp>The pieces on display at the Museum of Craft and Folk Art radiate calm through their satisfying heft. The curve in the lip of a teapot, the rounding of a bowl, the subtle fluting of a jar. Even the names of Mackenzie’s earthy, muted glazes — rust, copper green, oatmeal — use language as familiar as the shapes he creates. And despite being so expertly worked, all of the pieces retain a strong feeling of earth, and damp slabs of clay.\u003c/p>\n\u003cp>If my love of MacKenzie’s ceramics makes me a commoner, I’m happy to live with that label. In fact, I get the feeling from his work that MacKenzie himself would rather spend time at a kitchen table than in an art gallery. Just as long as he has a perfectly proportioned mug in his hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Warren MacKenzie: Legacy of an American Potter\u003c/b> runs at the Museum of Craft and Folk Art through September 13, 2009. For \u003ca href=\"http://mocfa.org/exhibitions/index.htm\">more information\u003c/a> visit mocfa.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Warren MacKenzie has achieved venerable status as a leading 20th century ceramic artist, yet his work is not high-falutin’ art with a capital “A.” Instead, Machenzie has spent a lifetime creating simple, dignified — and always utilitarian — hand-thrown pieces of pottery.\u003c/p>\n\u003cp>The Museum of Craft and Folk Art’s new retrospective, \u003cb>Warren MacKenzie: Legacy of an American Potter\u003c/b> includes casserole dishes, mugs and plates. Items that you want to reach out and cup with your palms. Items that would warm up a kitchen table on a chilly winter’s evening.\u003c/p>\n\u003cp>MacKenize originally studied to be a painter, and created hard-edged, geometric work. But World War II interfered. When he returned to art school, the painting department was full and he turned instead to ceramics. He dedicated himself to functional pottery, drawing heavily on Japanese and Korean ceramic traditions.\u003c/p>\n\u003cp>The pieces on display at the Museum of Craft and Folk Art radiate calm through their satisfying heft. The curve in the lip of a teapot, the rounding of a bowl, the subtle fluting of a jar. Even the names of Mackenzie’s earthy, muted glazes — rust, copper green, oatmeal — use language as familiar as the shapes he creates. And despite being so expertly worked, all of the pieces retain a strong feeling of earth, and damp slabs of clay.\u003c/p>\n\u003cp>If my love of MacKenzie’s ceramics makes me a commoner, I’m happy to live with that label. In fact, I get the feeling from his work that MacKenzie himself would rather spend time at a kitchen table than in an art gallery. Just as long as he has a perfectly proportioned mug in his hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The subject gets all the play. In a sentence, the subject performs, affects the object, “the subject of a clause controls the verb and typically precedes it,” says Chicago. When a sentence starts with anything but a subject, people get their knickers in a twist (“Avoid the passive voice at all costs,” they say). Our grammar instructs us to be actors, not acted upon, subjects not subjected to.\u003c/p>\n\u003cp>But two current East Bay art shows think differently. They walk away from subject-hood, venturing into less-sure territory. \u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> at Blankspace Gallery and \u003cb>Becoming Non Object\u003c/b> at Hatch Gallery both seek liberation and possibility through the processes of un-definition and inversion. The works and the methods are diverse, but the goal is the same: discovery through a shift in perspective.\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions…\u003c/b> is a series of collaborations between Sam Lopes, Joy Fritz, Matthew Momchilov, and Erik Scollon. All the works were made through a game of copycat, in which the artists imitated one of their collaborators’ styles. While the “art machine” encourages artists to develop a unique brand, these guys bravely try on artistic styles like different dresses at a thrift store. The result is an irreverent series of works that questions ideas of authenticity, imitation, and the integrity of identity, artistic as well as sexual.\u003c/p>\n\u003cp>A queer theme runs through it all, explicitly referenced in the show’s literature and implied by many of the works. A sense of psychedelic domesticity is rampant. Hearthstones and shag-carpeted living rooms pulsate with bright colors and sexual innuendoes. In “Distracted by Joy in a Bathing Suit,” by Sam Lopes and Joy Fritz, a life-sized paper-mache nude figure reclines beneath a crocheted afghan before a cardboard fireplace. A male body in a woman’s bathing suit stands suggestively nearby. It’s like we’ve walked in on something.\u003c/p>\n\u003cp>A wooden sculpture, entirely abstract and geometric, dominates one wall. “Quantum Leap,” by Lopes, is a checkerboard of colors that intersect and depart, come together to make new shapes and take off to create other ones. How many different combinations are possible? How do the edges of one shape bleed into another? When does the merging stop? It seems like a metaphor for identity, one that informs the entire show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Becoming Non-Object\u003c/b>, a two-person show including paintings by Nate Crane and sculptures by Michael Deane, revolves around the “the intentional shift of the object as the subject, to the object as the reference point for viewing the energy and influences around it,” the curatorial statement reads. The artists attempt this inversion in markedly different ways. Crane creates ordered and precise paintings of geometric shapes and astronomical phenomena, while Deane makes conglomerations of debris that look like the contents of a disorganized toy bin in the back of a child’s closet. (That latter comment sounds like more of a criticism than it’s meant to be.)\u003c/p>\n\u003cp>Crane’s paintings are intriguing in their deceptive simplicity. Inspired by subject matter complicated and remote, such as astronomical dark matter and colliding galaxies, the result is pleasingly coherent. An abstract Persian snake, a common motif in Persian rugs, winds its way through the works, dancing in the sky in “Descent” and wrapping around itself in “Colliding Galaxies.” Both works resemble screenshots from an Atari videogame: playful, vaguely scientific, and inviting. The work highlights the limitations inherent in depicting negative space with paint and canvas. A complex idea must be visually simplified and rendered in positive space. This simplification isn’t a disappointment though. In this case it’s more like a refreshing surprise.\u003c/p>\n\u003cp>Is this shift away from subject-hood a new trend? Will we see more shows dedicated to representing the space around the “I”? Deconstruction as muse? Given the spirit of possibility and play in these two shows, let’s hope so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> is up through Sunday, July 5, at \u003ca href=\"http://www.blankspacegallery.com\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>, 6609 San Pablo Ave., Oakland. And \u003cb>Becoming Non Object\u003c/b> runs through Saturday, June 27, at \u003ca href=\"http://www.hatchgallery.org\" target=\"offsite\" rel=\"noopener\">Hatch Gallery\u003c/a>, 492 23rd St., Oakland.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The subject gets all the play. In a sentence, the subject performs, affects the object, “the subject of a clause controls the verb and typically precedes it,” says Chicago. When a sentence starts with anything but a subject, people get their knickers in a twist (“Avoid the passive voice at all costs,” they say). Our grammar instructs us to be actors, not acted upon, subjects not subjected to.\u003c/p>\n\u003cp>But two current East Bay art shows think differently. They walk away from subject-hood, venturing into less-sure territory. \u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> at Blankspace Gallery and \u003cb>Becoming Non Object\u003c/b> at Hatch Gallery both seek liberation and possibility through the processes of un-definition and inversion. The works and the methods are diverse, but the goal is the same: discovery through a shift in perspective.\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions…\u003c/b> is a series of collaborations between Sam Lopes, Joy Fritz, Matthew Momchilov, and Erik Scollon. All the works were made through a game of copycat, in which the artists imitated one of their collaborators’ styles. While the “art machine” encourages artists to develop a unique brand, these guys bravely try on artistic styles like different dresses at a thrift store. The result is an irreverent series of works that questions ideas of authenticity, imitation, and the integrity of identity, artistic as well as sexual.\u003c/p>\n\u003cp>A queer theme runs through it all, explicitly referenced in the show’s literature and implied by many of the works. A sense of psychedelic domesticity is rampant. Hearthstones and shag-carpeted living rooms pulsate with bright colors and sexual innuendoes. In “Distracted by Joy in a Bathing Suit,” by Sam Lopes and Joy Fritz, a life-sized paper-mache nude figure reclines beneath a crocheted afghan before a cardboard fireplace. A male body in a woman’s bathing suit stands suggestively nearby. It’s like we’ve walked in on something.\u003c/p>\n\u003cp>A wooden sculpture, entirely abstract and geometric, dominates one wall. “Quantum Leap,” by Lopes, is a checkerboard of colors that intersect and depart, come together to make new shapes and take off to create other ones. How many different combinations are possible? How do the edges of one shape bleed into another? When does the merging stop? It seems like a metaphor for identity, one that informs the entire show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Becoming Non-Object\u003c/b>, a two-person show including paintings by Nate Crane and sculptures by Michael Deane, revolves around the “the intentional shift of the object as the subject, to the object as the reference point for viewing the energy and influences around it,” the curatorial statement reads. The artists attempt this inversion in markedly different ways. Crane creates ordered and precise paintings of geometric shapes and astronomical phenomena, while Deane makes conglomerations of debris that look like the contents of a disorganized toy bin in the back of a child’s closet. (That latter comment sounds like more of a criticism than it’s meant to be.)\u003c/p>\n\u003cp>Crane’s paintings are intriguing in their deceptive simplicity. Inspired by subject matter complicated and remote, such as astronomical dark matter and colliding galaxies, the result is pleasingly coherent. An abstract Persian snake, a common motif in Persian rugs, winds its way through the works, dancing in the sky in “Descent” and wrapping around itself in “Colliding Galaxies.” Both works resemble screenshots from an Atari videogame: playful, vaguely scientific, and inviting. The work highlights the limitations inherent in depicting negative space with paint and canvas. A complex idea must be visually simplified and rendered in positive space. This simplification isn’t a disappointment though. In this case it’s more like a refreshing surprise.\u003c/p>\n\u003cp>Is this shift away from subject-hood a new trend? Will we see more shows dedicated to representing the space around the “I”? Deconstruction as muse? Given the spirit of possibility and play in these two shows, let’s hope so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Just Because There Are Questions Doesn’t Mean There Are Answers\u003c/b> is up through Sunday, July 5, at \u003ca href=\"http://www.blankspacegallery.com\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>, 6609 San Pablo Ave., Oakland. And \u003cb>Becoming Non Object\u003c/b> runs through Saturday, June 27, at \u003ca href=\"http://www.hatchgallery.org\" target=\"offsite\" rel=\"noopener\">Hatch Gallery\u003c/a>, 492 23rd St., Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not being a kid (or parent) I wasn’t sure what an exhibit on children’s books might hold for me. But I remember the cozy, lush, saturated worlds of my favorite childhood books. And it turns out that’s plenty of prerequisite for \u003cb>Once Upon a Book\u003c/b>, the current exhibition at San Francisco Center for the Book.\u003c/p>\n\u003cp>If you’ve ever thought that the topsy-turvy worlds portrayed in children’s books appear in full bloom in their creator’s head, this show sets the record straight by showing the lively, tangled work of teasing them out of their creator’s imagination.\u003c/p>\n\u003cp>There are notes scribbled in the margins of manuscripts, doodles, page layouts, type that’s been cut out and arranged on the page by the artists. There are small sketchbooks, research photos, different versions of illustrations with shifts in perspective, background, scale. In ink, gouache, snipped paper, pencil, and watercolor.\u003c/p>\n\u003cp>Remy Charlip, one of the six illustrators featured in the show, puts it this way: “A thrilling picture book not only makes beautiful single images or sequential images, but also allows us to become aware of a book’s unique physical structure, by bringing out attention, once again, to that momentous moment: the turning of the page.”\u003c/p>\n\u003cp>When leaving the exhibit, I saw for the first time the published books from each illustrator, and I almost didn’t want to look. I was so suspended in the intimate, finely articulated creative process of each of these artists that I didn’t want to see the mass-produced versions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I agree with curator Thacher Hurd that sometimes it can be more revealing, more transporting, to see the way people work rather than the finished work itself. This exhibit allows for that, and offers a fuller glimpse into the artists’ imaginings than the books alone.\u003c/p>\n\u003cp>We all know these worlds from our childhood. These are places, as illustrator Elisa Kleven says, “where forests grew and seasons changed, where animals talked and anything was possible.” This exhibition contains the maps to lead us back there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Once Upon a Book\u003c/b> is at the San Francisco Center for the Book through August 7, 2009 and includes illustrations from Remy Charlip, Maira Kalman, Elisa Kleven, David Macaulay, Chris Raschka and Brian Selznick. For \u003ca href=\"http://www.sfcb.org/html/exhibitions.html\">more information\u003c/a>, visit www.sfcb.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not being a kid (or parent) I wasn’t sure what an exhibit on children’s books might hold for me. But I remember the cozy, lush, saturated worlds of my favorite childhood books. And it turns out that’s plenty of prerequisite for \u003cb>Once Upon a Book\u003c/b>, the current exhibition at San Francisco Center for the Book.\u003c/p>\n\u003cp>If you’ve ever thought that the topsy-turvy worlds portrayed in children’s books appear in full bloom in their creator’s head, this show sets the record straight by showing the lively, tangled work of teasing them out of their creator’s imagination.\u003c/p>\n\u003cp>There are notes scribbled in the margins of manuscripts, doodles, page layouts, type that’s been cut out and arranged on the page by the artists. There are small sketchbooks, research photos, different versions of illustrations with shifts in perspective, background, scale. In ink, gouache, snipped paper, pencil, and watercolor.\u003c/p>\n\u003cp>Remy Charlip, one of the six illustrators featured in the show, puts it this way: “A thrilling picture book not only makes beautiful single images or sequential images, but also allows us to become aware of a book’s unique physical structure, by bringing out attention, once again, to that momentous moment: the turning of the page.”\u003c/p>\n\u003cp>When leaving the exhibit, I saw for the first time the published books from each illustrator, and I almost didn’t want to look. I was so suspended in the intimate, finely articulated creative process of each of these artists that I didn’t want to see the mass-produced versions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I agree with curator Thacher Hurd that sometimes it can be more revealing, more transporting, to see the way people work rather than the finished work itself. This exhibit allows for that, and offers a fuller glimpse into the artists’ imaginings than the books alone.\u003c/p>\n\u003cp>We all know these worlds from our childhood. These are places, as illustrator Elisa Kleven says, “where forests grew and seasons changed, where animals talked and anything was possible.” This exhibition contains the maps to lead us back there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Once Upon a Book\u003c/b> is at the San Francisco Center for the Book through August 7, 2009 and includes illustrations from Remy Charlip, Maira Kalman, Elisa Kleven, David Macaulay, Chris Raschka and Brian Selznick. For \u003ca href=\"http://www.sfcb.org/html/exhibitions.html\">more information\u003c/a>, visit www.sfcb.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like most of her contemporaries, conceptual artist and photographer Alice Shaw has identity issues — not to mention a lot of humorous questions about the efficacy of portraiture.\u003c/p>\n\u003cp>These are the themes that Shaw keeps cycling back to, anyway. Her 2006 book, \u003ca href=\"http://www.gallery16.com/index.php?page=books&book=people/\" target=\"offsite\" rel=\"noopener\">People Who Look Like Me\u003c/a>, contains dozens of sneakily casual-looking snapshots pairing Shaw with a variety of doppelgängers, including family members, dates, and random customer service representatives. Her 2007 show at Gallery 16, \u003ca>A Group Show\u003c/a>, featured individual portraits of Shaw and her “opposite,” Rhyanna, a teenaged African-American tranny, in vaguely similar clothing and identical settings. I wasn’t able to see \u003cb>A Group Show\u003c/b>, but a quick flip through \u003cb>People Who Look Like Me\u003c/b> leaves me eerily aware how whimsical Shaw’s choices for pairings can be (based on things as simple as a part of the bangs) and thus how manipulable my perception actually is.\u003c/p>\n\u003cp>Shaw’s current show, \u003cb>(Auto)Biography\u003c/b>, expands this line of investigation beyond the photograph, incorporating different sorts of portraiture, including handwriting analysis, tea leaves, psychic predictions and palm reading. She even hired an astro-locator to tell her where she should be living (not California) and asked a synesthetic friend to describe her color (a dark, hot pink).\u003c/p>\n\u003cp>The results — typewritten letters, astrological charts, a teacup with a cigarette butt placed inside — are installed next to a series of new works created in response to the different analyses. It’s a hodgepodge of media, with everything from photographs and prints to drawings and sculptures. Stylistically, nothing exactly matches up, and yet, typical of Shaw, the works reverberate off each other’s pleasing ways: sometimes challenging their companion works, sometimes gently poking fun, and sometimes serving to confuse.\u003c/p>\n\u003cp>If you visit, I recommend first taking a tour around the room without looking at the titles. At times — as in the case of a faux salt-print of a palm leaf (made by spray paint) next to an impression of Shaw’s inked palm — knowing the titles makes the puns much too literal. In other words, before you ask your date to explain herself, take stock of your first impressions. They might actually be more nuanced than what she provides. As a matter of fact, despite the show’s underlying humor around the idea of “the real,” after describing my impressions of Shaw’s personality based on what I saw in the show to a friend who actually knows Alice Shaw, I’m not so sure that I’m getting it wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>(Auto)Biography\u003c/b> shows at \u003ca href=\"http://www.gallery16.com/index.php\" target=\"offsite\" rel=\"noopener\">Gallery 16\u003c/a> through July 3, 2009.\u003c/p>\n\n",
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"content": "\u003cp>The Bell Jar Shop is the newest curio store/gallery in the Mission. A vintage thread runs through their inventory, which includes old belt buckles, and bath products displayed in a claw foot tub. Their modest gallery marked with a saloon-style sign in the back of the shop was the perfect location for an intimate showing of Paul Madonna’s tiny 5 x 5 inch drawings of \u003cb>Things Your Grandmother Taught You to Steal to Survive a Depression\u003c/b>.\u003c/p>\n\u003cp>Paul Madonna’s grandmother was obviously a fan of condiments as his eleven delicately rendered images of single-serving packets indicate — two kinds of honey, two kinds of butter, malt vinegar, ketchup, soy sauce, and a cellophane-protected toothpick. Each has perfectly replicated, recognizable logos, but the peel-away wrapper topping an Irish cream-flavored coffee creamer happens to subtly incorporate the show’s title. In his signature style, the artist paid special attention to detail, perfecting things like the shade of gold on the foil wrapper of a melting pat o’ butter, making each drawing delightful.\u003c/p>\n\u003cp>Madonna’s work is, for me, a great demonstration of the quiet, underlying talent in San Francisco. His strip in the \u003ci>Chronicle\u003c/i>, \u003cb>All Over Coffee\u003c/b>, is drawn with skill (no penciled layout — just pure, uninhibited ink) and highlights local locations and frames of mind, which are represented by imagined quotes. His strip is both absent and suggestive of people in your neighborhood, and you can see a vast five-year archive of the strip’s original drawings and the artist’s sketch books in another exhibition celebrating his work currently on view at the San Francisco Public Library.\u003c/p>\n\u003cp>The packets of condiments in Madonna’s show at the Bell Jar Gallery hint at nostalgia with a nod to the current economic climate, and they are beautifully drawn in such a way that they deserve to be inspected up close and also admired from a distance. Madonna’s hand turns everyday objects to sweet, stylized, illustrated perfection — something I witnessed first hand as I watched him draw a tiny orange Creamsicle at this year’s \u003ca href=\"http://soex.org/ImagePool/23.html\" target=\"offsite\" rel=\"noopener\">Monster Drawing Rally\u003c/a>.\u003c/p>\n\u003cp>While at the Bell Jar Shop, take a look around. There’s something for everyone — including Metallica on the sound system, frilly frocks, children’s blocks, and that two-headed taxidermic baby chicken you’ve been looking for.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Madonna’s \u003cb>Things Your Grandmother Taught You to Steal to Survive a Depression\u003c/b> runs through June 17th, 2009. \u003cb>Five Years of All Over Coffee\u003c/b> is on view at the San Francisco Main Library through August 23rd, 2009 where the artist will also be giving a talk and signing books on June 25th at 6pm in the Koret Auditorium.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bell Jar Shop is the newest curio store/gallery in the Mission. A vintage thread runs through their inventory, which includes old belt buckles, and bath products displayed in a claw foot tub. Their modest gallery marked with a saloon-style sign in the back of the shop was the perfect location for an intimate showing of Paul Madonna’s tiny 5 x 5 inch drawings of \u003cb>Things Your Grandmother Taught You to Steal to Survive a Depression\u003c/b>.\u003c/p>\n\u003cp>Paul Madonna’s grandmother was obviously a fan of condiments as his eleven delicately rendered images of single-serving packets indicate — two kinds of honey, two kinds of butter, malt vinegar, ketchup, soy sauce, and a cellophane-protected toothpick. Each has perfectly replicated, recognizable logos, but the peel-away wrapper topping an Irish cream-flavored coffee creamer happens to subtly incorporate the show’s title. In his signature style, the artist paid special attention to detail, perfecting things like the shade of gold on the foil wrapper of a melting pat o’ butter, making each drawing delightful.\u003c/p>\n\u003cp>Madonna’s work is, for me, a great demonstration of the quiet, underlying talent in San Francisco. His strip in the \u003ci>Chronicle\u003c/i>, \u003cb>All Over Coffee\u003c/b>, is drawn with skill (no penciled layout — just pure, uninhibited ink) and highlights local locations and frames of mind, which are represented by imagined quotes. His strip is both absent and suggestive of people in your neighborhood, and you can see a vast five-year archive of the strip’s original drawings and the artist’s sketch books in another exhibition celebrating his work currently on view at the San Francisco Public Library.\u003c/p>\n\u003cp>The packets of condiments in Madonna’s show at the Bell Jar Gallery hint at nostalgia with a nod to the current economic climate, and they are beautifully drawn in such a way that they deserve to be inspected up close and also admired from a distance. Madonna’s hand turns everyday objects to sweet, stylized, illustrated perfection — something I witnessed first hand as I watched him draw a tiny orange Creamsicle at this year’s \u003ca href=\"http://soex.org/ImagePool/23.html\" target=\"offsite\" rel=\"noopener\">Monster Drawing Rally\u003c/a>.\u003c/p>\n\u003cp>While at the Bell Jar Shop, take a look around. There’s something for everyone — including Metallica on the sound system, frilly frocks, children’s blocks, and that two-headed taxidermic baby chicken you’ve been looking for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Some truisms (in descending order of certainty): All women aren’t artists. All women aren’t feminists. Some, however, are both, and we call these women “feminist artists.” I have no idea what it means to be a “feminist artist” or to make “feminist art,” although I am open to the possibility the identity and the genre exist.\u003c/p>\n\u003cp>A simple question led to all this ruminating. A friend asked: “Is the Squeak Carnwath exhibit at the Oakland Museum of California ‘feminist art’?” I just stood there. I couldn’t answer. That was two weeks ago. I’ve thought a lot about the question since then and I still can’t answer it. I just have this parade of thoughts marching in a circle through my head: Feminism, artists, feminist artist, feminist art (repeat). Lacking definitive answers, I guess I’ll give it the ol’ “Intro. to Women’s Studies” try.\u003c/p>\n\u003cp>Carnwath is a woman and an artist and has been described as a feminist, partially for her decision to abandon ceramics in the late 1970s because she found the medium (at the time, in the Bay Area) too chauvinistic. She still lives in the Bay Area, and received her MFA from California College of Arts and Crafts, and has taught at UC Berkeley for the past ten years. The exhibit at the Oakland Museum, which includes work from the early 1990s to the present, is titled \u003cb>Painting is No Ordinary Object\u003c/b>. It is the first large, solo museum show of her work.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Abandoning ceramics because of men, 1 point; large museum show dedicated to a living woman artist’s work, 3 points.\u003c/p>\n\u003cp>I didn’t see any overtly feminist themes in Carnwath’s work. Instead, I saw a deeply personal visual language, a system of mark-making and time recording that was cryptic but still intelligible. The artist uses recognizable symbols (words, numbers, dates, objects) in subjective ways, juxtaposing the order of language and geometry with less tangible entities like loss, time, and guilt. Her textured paintings appear as both public displays and private entries, the layered images resembling walls of graffiti and journal pages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “All That I Know,” from 1995, the squares of a grid house letters, dabs of paint, question marks, and everyday objects like a rotary telephone, a birthday cake, and an apple. Mimicking the form of the periodic table, the artist draws attention to all the things that defy quantification. Around 2002, Carnwath began incorporating a “guilt-free zone” into her paintings. The zone, roughly the size of two footprints side by side, is delineated by a dotted line. Inside, in the artist’s distinct handwriting, are the words “Guilt-Free Zone.” The artist makes it seem as though alleviating guilt could be so simple, and as our eyes rest on the simple circle, it seems like it might be.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Bringing the personal into the public realm, 1 point; subverting patriarchal language systems, 2 points; privileging non-linear systems of knowledge, 1 point.\u003c/p>\n\u003cp>My favorite group of paintings in the show are the ones Carnwath made during the ’90s and early 2000s. Paintings like “But For Monkeys” (2003) and “Right Now” (2003) are like soothing blankets covering the walls. Linked bars of color create a multi-hued wall of bricks. These canvases appear more unified than some of the other works. In their size, color, and patchwork styles, they reminded me of quilts. The same is true of the text-based painting “Please” (2000), in which Carnwath writes “I’m sorry,” over and over, black letters overlapping and cascading down the canvas. Her tiny repetitive script mimics the small stitches used to sew the top layer of a quilt to the bottom. There is something obsessive and devotional to both forms of handwork. Not all of Carnwath’s paintings resemble quilts, although they all reflect the logic of quilt-making. Like discrete quilt squares made separately and then pieced together, Carnwath joins together disparate images and ideas, reconciling opposites, incorporating scraps of her experience into a cohesive whole.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> being a woman and making big paintings, 1 point; paying homage to traditionally feminine forms of handwork, 3 points. Total score: 12 points.\u003c/p>\n\u003cp>Unfortunately, a scoring rubric for the feminism-meter does not exist, as the system of measurement is relatively new. And while I still don’t feel qualified to say if Carnwath’s work is “feminist art” (I only took one Women’s Studies class, after all, I didn’t major in it), I do feel qualified to say that the show is worth seeing. Carnwath’s commitment to creating and discovering her own visual language is inspirational, whether you’re a feminist or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Painting is No Ordinary Object\u003c/b> is on display at the Oakland Museum of California through August 23, 2009. The museum is located at 1000 Oak St., Oakland.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some truisms (in descending order of certainty): All women aren’t artists. All women aren’t feminists. Some, however, are both, and we call these women “feminist artists.” I have no idea what it means to be a “feminist artist” or to make “feminist art,” although I am open to the possibility the identity and the genre exist.\u003c/p>\n\u003cp>A simple question led to all this ruminating. A friend asked: “Is the Squeak Carnwath exhibit at the Oakland Museum of California ‘feminist art’?” I just stood there. I couldn’t answer. That was two weeks ago. I’ve thought a lot about the question since then and I still can’t answer it. I just have this parade of thoughts marching in a circle through my head: Feminism, artists, feminist artist, feminist art (repeat). Lacking definitive answers, I guess I’ll give it the ol’ “Intro. to Women’s Studies” try.\u003c/p>\n\u003cp>Carnwath is a woman and an artist and has been described as a feminist, partially for her decision to abandon ceramics in the late 1970s because she found the medium (at the time, in the Bay Area) too chauvinistic. She still lives in the Bay Area, and received her MFA from California College of Arts and Crafts, and has taught at UC Berkeley for the past ten years. The exhibit at the Oakland Museum, which includes work from the early 1990s to the present, is titled \u003cb>Painting is No Ordinary Object\u003c/b>. It is the first large, solo museum show of her work.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Abandoning ceramics because of men, 1 point; large museum show dedicated to a living woman artist’s work, 3 points.\u003c/p>\n\u003cp>I didn’t see any overtly feminist themes in Carnwath’s work. Instead, I saw a deeply personal visual language, a system of mark-making and time recording that was cryptic but still intelligible. The artist uses recognizable symbols (words, numbers, dates, objects) in subjective ways, juxtaposing the order of language and geometry with less tangible entities like loss, time, and guilt. Her textured paintings appear as both public displays and private entries, the layered images resembling walls of graffiti and journal pages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “All That I Know,” from 1995, the squares of a grid house letters, dabs of paint, question marks, and everyday objects like a rotary telephone, a birthday cake, and an apple. Mimicking the form of the periodic table, the artist draws attention to all the things that defy quantification. Around 2002, Carnwath began incorporating a “guilt-free zone” into her paintings. The zone, roughly the size of two footprints side by side, is delineated by a dotted line. Inside, in the artist’s distinct handwriting, are the words “Guilt-Free Zone.” The artist makes it seem as though alleviating guilt could be so simple, and as our eyes rest on the simple circle, it seems like it might be.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> Bringing the personal into the public realm, 1 point; subverting patriarchal language systems, 2 points; privileging non-linear systems of knowledge, 1 point.\u003c/p>\n\u003cp>My favorite group of paintings in the show are the ones Carnwath made during the ’90s and early 2000s. Paintings like “But For Monkeys” (2003) and “Right Now” (2003) are like soothing blankets covering the walls. Linked bars of color create a multi-hued wall of bricks. These canvases appear more unified than some of the other works. In their size, color, and patchwork styles, they reminded me of quilts. The same is true of the text-based painting “Please” (2000), in which Carnwath writes “I’m sorry,” over and over, black letters overlapping and cascading down the canvas. Her tiny repetitive script mimics the small stitches used to sew the top layer of a quilt to the bottom. There is something obsessive and devotional to both forms of handwork. Not all of Carnwath’s paintings resemble quilts, although they all reflect the logic of quilt-making. Like discrete quilt squares made separately and then pieced together, Carnwath joins together disparate images and ideas, reconciling opposites, incorporating scraps of her experience into a cohesive whole.\u003c/p>\n\u003cp>\u003cb>Feminism-meter:\u003c/b> being a woman and making big paintings, 1 point; paying homage to traditionally feminine forms of handwork, 3 points. Total score: 12 points.\u003c/p>\n\u003cp>Unfortunately, a scoring rubric for the feminism-meter does not exist, as the system of measurement is relatively new. And while I still don’t feel qualified to say if Carnwath’s work is “feminist art” (I only took one Women’s Studies class, after all, I didn’t major in it), I do feel qualified to say that the show is worth seeing. Carnwath’s commitment to creating and discovering her own visual language is inspirational, whether you’re a feminist or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Painting is No Ordinary Object\u003c/b> is on display at the Oakland Museum of California through August 23, 2009. The museum is located at 1000 Oak St., Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>The Future Is So Bright\u003c/b>, a group show of up-and-coming artists from Portland and the Bay Area, recently opened at 666 Gallery. The space, formerly the location of Gallery Three, is a cozy oasis the size of a walk-in closet in the seedy wilds of San Francisco’s Tenderloin district. Despite the vastly varied aesthetics of the six featured artists, the seventeen paintings and drawings form a cohesive whole, each artwork contributing to a shared sense of freedom and exhibiting an impressive display of meticulous detail.\u003c/p>\n\u003cp>The opening was a packed, rowdy affair: plenty of booze and just enough attitude. My gal pal, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\" target=\"offsite\" rel=\"noopener\">Kristin\u003c/a>, and I captured it all with our trusty little camera for your viewing pleasure. Feast on Alexandra Steele’s coyote decoys, Nas Chompas’ explosive fantasy world, Mark Warren Jacques’ trippy geometry, and Timothy Karpinski’s childhood bric-a-brac.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=kX7qXq1DNwU&hl=en&fs=1&color1=0x006699&color2=0x54abd6]\u003c/p>\n\u003cp>\u003cb>The Future Is So Bright\u003c/b> runs through June 15, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I snuck out of the office early last Friday to visit Sarah Applebaum as she put the finishing touches on \u003cb>Soft Core\u003c/b>, her new show at Receiver Gallery. Her work is a sort of stream-of-consciousness sculpture loosely based on dreams and archetypal imagery, and it often involves some kind of togetherness. In her portfolio are a group sweater, and a conjoined Yeti suit wearable by three people at once. Her new installation is a cozy explosion of rainbow colors and softness as you will see in the photos below.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore1.jpg\">\u003c/center>\n\u003cp>Sarah’s dogs enjoy relaxing on her sculptures and modeling her costumes.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore2.jpg\">\u003c/center> \u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore3.jpg\">\u003c/center> \n\u003cp>Emmanuel also enjoys modeling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore4.jpg\">\u003c/center> \n\u003cp>Sarah created a geometric cave in an empty room in her home and then transferred it to the gallery. Her friend helped fabricate the lovely soft-sided raindrops.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore5.jpg\">\u003c/center> \u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore6.jpg\">\u003c/center> \n\u003cp>Emmanuel took a call on the knit-phone.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore7.jpg\">\u003c/center> \n\u003cp>Sculpture detail and leafy paper cascade.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore8.jpg\">\u003c/center>\n\u003cp>Sarah rescues abandoned “knittens,” knitting projects and crocheted afghan squares, and gives them a fantastical new life.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore9.jpg\">\u003c/center> \n\u003cp>High-five.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/softcore10.jpg\">\u003c/center> \n\u003cp>As we filmed her introduction to the show, three creatures created by Sarah busted into the gallery and started dancing with her dogs. Luckily, we were able to document the behaviors of these curious yarn people in their natural \u003cb>Soft Core\u003c/b> habitat.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/gpfQlfSPE74&hl=en&fs=1\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/gpfQlfSPE74&hl=en&fs=1\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Sarah Applebaum’s \u003cb>Soft Core\u003c/b> installation at Receiver Gallery is on view through June 26th, 2009.\u003c/p>\n\n",
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"content": "\u003cp>The Museum of Craft and Folk Art is tucked between restaurants and hotels near Yerba Buena. It’s not a big place; more gallery- than museum-sized, and it’s dwarfed by its neighbor, the Contemporary Jewish Museum. The gallery itself is small, but luckily it feels more intimate than cramped.\u003c/p>\n\u003cp>That sense of intimacy is put to good use in the museum’s current exhibition of artists’ spaces. \u003cb>Inside/Outside\u003c/b> introduces places — for the most part artists’ homes — that have been transformed into complete, enveloping experiences. They all have the feel of beloved life-long projects.\u003c/p>\n\u003cp>The focal point of the show is Bolinas surfer \u003ca href=\"http://www.shinelounge.com/\">Mike Shine’s\u003c/a> home, reproduced in full size in the gallery. It’s pretty convincing. In the video documenting Shine’s work and the creation of this installation, I wasn’t always sure which was his real home and which one the reproduction. It’s not just the look of the place that works, but also the feel. When I first walked in, there were museum-goers sitting around the kitchen table, chatting with each other. The installation is all about welcoming visitors into an artist’s environment, so I gave in to my first impulse and checked out the record collection (Rolling Stones, Kiss, recordings of whale songs).\u003c/p>\n\u003cp>The cabin sets the bar high for the rest of the show, and I was disappointed to find that the rest was, for the most part, photos of other spaces and biographies of their creators. Given the space limitations, the museum obviously couldn’t have recreated the Watts Towers in the gallery, but on the other hand, one needn’t pay museum admission to see photographs of the \u003ca href=\"http://www.wattstowers.us/\">Towers\u003c/a> and read about the man who built them. I was left with the feeling that I was looking at the pages of a well-curated coffee table book hung on the walls.\u003c/p>\n\u003cp>But the exhibition does show a vibrant array of artists’ homes and environments in California. I fantasized about a road trip to those places until I realized most of them are no longer intact. The artists — the majority were adults during the Depression — have passed away, and their relatives and communities either lacked the money or the interest to preserve their eccentric collections of hubcaps, wooden dolls, fake flowers, and layers of paintings that made up the worlds those artists created. The photographs and bios serve as memorials to those people, outsider artists who poured their time and energy into creating their own worlds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Inside/Outside\u003c/b> is up for one more week; it closes on May 24, 2009. For more information visit the Museum of Craft and Folk Art’s \u003ca href=\"http://www.mocfa.org/\">website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>For anyone who has been living under a rock (which I would imagine the artist would approve of), artist Andy Goldsworthy creates elaborate installations out of natural materials he finds on the spot: leaves, rocks, twigs, even ice. Sometimes the work lasts only moments or hours. But here in San Francisco, we’re fortunate enough to have two more or less permanent pieces.\u003c/p>\n\u003cp>Goldsworthy’s \u003cb>Faultline\u003c/b> is the cracked rock exhibit at the de Young — a fissure that meanders through boulders and pavers, leading visitors to the museum while referencing our shared seismic history.\u003c/p>\n\u003cp>His second installation is in the city’s \u003ci>other\u003c/i> major park: the Presidio. In \u003cb>Spire\u003c/b>, Goldsworthy brings the same lightness of concept and execution to another heavy medium. In this case, dozens of 15,000 pound cypress trees that the Presidio is systematically felling and replanting to create a more sustainable, staggered-growth forest.\u003c/p>\n\u003cp>I witnessed \u003cb>Spire\u003c/b> in various stages of its construction as I visited the Presidio. At first I found it somewhat unremarkable — a plain bundle of logs that reached skyward out of a newly-barren landscape. But after visiting \u003cb>Goldsworthy at the Presidio\u003c/b>, I realized that the effort required to achieve that plainness made it remarkable.\u003c/p>\n\u003cp>Sketches, video and photographs document Goldsworthy’s discipline in creating the \u003cb>Spire\u003c/b>, which soars 90 feet into the sky, but is rooted in extensive excavation, concrete and rebar. The crane and chainsaw work alone is artistry. As is Goldsworthy’s insistence to bundle the trees so deftly and tightly that almost no light can pass through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another highlight of the exhibit is a rubbing of the “king tree” or central tree. Compared to the heaviness of the trees and Goldsworthy’s sketches, the rubbing is a ghostly and light counterpoint.\u003c/p>\n\u003cp>The exhibit states that the \u003cb>Spire\u003c/b> tells the story of the forest, while welcoming the next generation of trees. “It is a poetic reference to the forest’s past; as new young trees grow up to meet the sculpture, it will eventually disappear into the forest.”\u003c/p>\n\u003cp>A simple idea, but complicated to portray so simply. The \u003cb>Spire\u003c/b> projects monumental yet quiet power. And the Presidio exhibit reveals the mastery of that accomplishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Goldswothy at the Presidio\u003c/b> is at Building 49 next to the Presidio Officers’ Club on the Main Post of the Presidio through July 19, 2009 For\u003ca href=\"http://www.presidio.gov/experiences/spire.htm\">more information\u003c/a>visit www.presidio.gov.\u003c/p>\n\n",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
"source": "npr"
},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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