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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>As a DIYer, the instinct to create and nest holds particular resonance for me. So it’s hard not to see these intricate creations as a supremely resourceful DIY. A bit of yarn here, a piece of lace woven in along this edge, a scrap of frayed burlap tucked into twigs. The Tailor Bird stitches small pillows of fluff and twigs into tea leaves. Anna’s Hummingbird weaves spider webs into its eensy nest and camouflages it with lichen. The House Finch creates a cheery nest from colorful sewing scraps, cellophane, plastic and paper.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The library itself is a perfect venue for this exhibition. The building is tucked low and snug inside the Botanical Gardens; its hushed reverence amplifies the quiet of each nest. Some are wispy, feathery creations lined with plant down. Others are built from sticks and protected by thorny branches. Taking in the nests’ muted colors and artfully asymmetrical shapes, it’s impossible not to wonder if birds have an innate aesthetic to match their exquisite weaving and construction skills.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Mr. and Mrs. Bird may have introduced me to the craft, utility and beauty of simple nests. Now Beals’ keen eye exalts them.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>The Botany of Nests\u003c/b> by Sharon Beals is at the Helen Crocker Russell Library of Horticulture at San Francisco Botanical Garden at Strybing Arboretum in San Francisco’s Golden Gate Park through June 30, 2009. For \u003ca href=\"http://www.sfbotanicalgarden.org/library/page6.html\">more information\u003c/a> visit sfbotanicalgarden.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>According to the Bureau of Labor Statistics, as of the end of March, 2009, the number of unemployed workers in the U.S. had topped 13.2 million. Of that 13.2 million, 5.3 million people lost their jobs during the current recession. That’s 5.3 million good and decent folks, including yours truly, who have been told that their services are no longer required, that the pleasure of their company is not requested, that, in short, they should be so kind as to take a hike.\u003c/p>\n\u003cp>Visual artists are on a first-name basis with rejection, as the work in \u003cb>It’s Not Us, It’s You\u003c/b> at the San Jose Institute of Contemporary Art amply shows. The exhibit begins at the front door with a text piece by Anthony Discenza called “The Way It Is.” “WE WON’T BE IN TOUCH,” it begins, screaming its rebuffs in bold, capital letters. “WE AREN’T GOING TO HANG ONTO YOUR RESUME. WE DON’T WANT TO STAY FRIENDS.” On and on it continues in a litany of rejection, each a perfect 180 on the standard falsehoods found in any number of form letters. The sentiments are so spot on that the show’s title is taken from Discenza’s last expression of unvarnished candor: “IT’S NOT US, IT’S YOU.”\u003c/p>\n\u003cp>Inside, we are greeted by a needlessly large plexiglass donation box by Steve Lambert titled “Steve Lambert Refuses to Participate in the Exhibit.” A legend near the box promises that all the money collected will be divided among the artists in the show because the SJICA didn’t budget any money for artist fees. On the day I attended, a scattering of ones and a few fives sat unimpressively at the bottom of the box, adding irony to the piece’s tongue-in-check rejection of a show about rejection.\u003c/p>\n\u003cp>Orly Cogan presents the softer side of rejection with “Fluffy F**k-offs,” a collection of 15 embroidered throw pillows sitting cheerily on a plain white shelf. Each bears a sweetly rendered, soul-killing message. “We’re not accepting applications” is sewn onto one pillow with wide gold, blue and bronze stripes; a white needlepoint flower provides dissonant decoration. Nearby, an old-timey couple stands before a fairytale cottage; “Membership closed” we read, and suddenly the needlepoint couple in the scene is no longer paying a visit to grandma’s house. They’ve been barred at the door.\u003c/p>\n\u003cp>For “Rejection Winery,” artist and show curator Ray Belder invited 12 artists to each create a label for a bottle of wine. Alas, most of the labels look like rejected submissions sent to \u003ca href=\"http://despair.com/\">despair.com\u003c/a>. Belder would have done well to reject a few of these, but he rejected no one for his “Book of Rejection,” which contains hundreds of rejection letters, an embarrassingly large percentage of which were contributed by an artist named Barbara Kossey. I didn’t read all of the letters addressed to Kossey, but most appeared to have been delivered during the mid-to-late 1980s. Was Kossey subjecting herself to this sustained systematic rejection in order to create a piece about it? One way or the other, via Belder, she has. For me, one Kossey letter in particular held special significance: In 1986, Kossey was rejected by the same company that recently canned me. I can’t explain why I found it oddly thrilling to see that letter from \u003ci>Sunset\u003c/i> — when dealing with rejection, one takes consolation where one finds it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In general, the pieces that adhere closest to the show’s narrow focus work best. For example, Mike Arcega’s “Weaving Dollies” is a clever, almost-useful object — four walnut furniture dollies have been woven together to handsome, if impractical, effect. Not sure what it’s doing here, but in his catalog statement Belder admits that some of the artist were chosen simply because they are familiar with rejection. Welcome to the meeting, Mike. Stephanie Syjuco’s installation of white “Personal Protest” signs leaning against two gallery walls is similarly close-but-no-cigar. Rendered in blocky black or red type, the declarations range from “PAY YOUR BILS ON TIME” to “YOUR HAIR LOOKS OK.” Being personal in nature, the protests are mundane, so the piece’s mundane appearance is fitting, I guess, but I was less inspired to take action that I was to move on.\u003c/p>\n\u003cp>The two artists who seem most at home here are Arthur Gonzales and Robert Eads. Gonzales took a series of rejection letters from prestigious New York galleries, UC Davis and a mental-health center and used them as canvases for ruminations on the rejection he had just suffered. In a watercolor on a letter from Charles Cowles Gallery, Gonzales has drawn a lonely figure, elbows on a surface, head in his hands. A thought bubble encircles the word “unfortunately” in the Cowles letter, as in “I am a fan of your work. Unfortunately the gallery is absolutely full at this time.” ‘If he’s really such a fan of my work,’ we imagine the character is thinking, ‘he would have added that he looks forward to showing my work as soon as there’s an opening.’ Rejected again.\u003c/p>\n\u003cp>Robert Eads also uses rejection letters as the raw materials for his art. He even uses the slide sheets that accompanied artist submissions back in the stone age before we all went digital. “Spindle” features dozens of his Xeroxed resumes, rejection letters and slide sheets, many still containing slides of the artist’s work, impaled by a rake, whose handle has been replaced by an evil-looking spike. Eads’s “Rejection Letters” is even simpler in its approach. Reminiscent of the rejection-letter walls that appear at high schools around the country at this time of year, the installation papers an entire gallery wall, floor to ceiling, with decades of polite variations on thanks, but no thanks. When life gives you lemons you make lemonade. Based on the work in \u003cb>It’s Not Us, It’s You\u003c/b>, artists must drink a lot of that stuff.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>It’s Not Us, It’s You\u003c/b> runs through June 20, 2009 at San Jose Institute of Contemporary Art.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to the Bureau of Labor Statistics, as of the end of March, 2009, the number of unemployed workers in the U.S. had topped 13.2 million. Of that 13.2 million, 5.3 million people lost their jobs during the current recession. That’s 5.3 million good and decent folks, including yours truly, who have been told that their services are no longer required, that the pleasure of their company is not requested, that, in short, they should be so kind as to take a hike.\u003c/p>\n\u003cp>Visual artists are on a first-name basis with rejection, as the work in \u003cb>It’s Not Us, It’s You\u003c/b> at the San Jose Institute of Contemporary Art amply shows. The exhibit begins at the front door with a text piece by Anthony Discenza called “The Way It Is.” “WE WON’T BE IN TOUCH,” it begins, screaming its rebuffs in bold, capital letters. “WE AREN’T GOING TO HANG ONTO YOUR RESUME. WE DON’T WANT TO STAY FRIENDS.” On and on it continues in a litany of rejection, each a perfect 180 on the standard falsehoods found in any number of form letters. The sentiments are so spot on that the show’s title is taken from Discenza’s last expression of unvarnished candor: “IT’S NOT US, IT’S YOU.”\u003c/p>\n\u003cp>Inside, we are greeted by a needlessly large plexiglass donation box by Steve Lambert titled “Steve Lambert Refuses to Participate in the Exhibit.” A legend near the box promises that all the money collected will be divided among the artists in the show because the SJICA didn’t budget any money for artist fees. On the day I attended, a scattering of ones and a few fives sat unimpressively at the bottom of the box, adding irony to the piece’s tongue-in-check rejection of a show about rejection.\u003c/p>\n\u003cp>Orly Cogan presents the softer side of rejection with “Fluffy F**k-offs,” a collection of 15 embroidered throw pillows sitting cheerily on a plain white shelf. Each bears a sweetly rendered, soul-killing message. “We’re not accepting applications” is sewn onto one pillow with wide gold, blue and bronze stripes; a white needlepoint flower provides dissonant decoration. Nearby, an old-timey couple stands before a fairytale cottage; “Membership closed” we read, and suddenly the needlepoint couple in the scene is no longer paying a visit to grandma’s house. They’ve been barred at the door.\u003c/p>\n\u003cp>For “Rejection Winery,” artist and show curator Ray Belder invited 12 artists to each create a label for a bottle of wine. Alas, most of the labels look like rejected submissions sent to \u003ca href=\"http://despair.com/\">despair.com\u003c/a>. Belder would have done well to reject a few of these, but he rejected no one for his “Book of Rejection,” which contains hundreds of rejection letters, an embarrassingly large percentage of which were contributed by an artist named Barbara Kossey. I didn’t read all of the letters addressed to Kossey, but most appeared to have been delivered during the mid-to-late 1980s. Was Kossey subjecting herself to this sustained systematic rejection in order to create a piece about it? One way or the other, via Belder, she has. For me, one Kossey letter in particular held special significance: In 1986, Kossey was rejected by the same company that recently canned me. I can’t explain why I found it oddly thrilling to see that letter from \u003ci>Sunset\u003c/i> — when dealing with rejection, one takes consolation where one finds it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In general, the pieces that adhere closest to the show’s narrow focus work best. For example, Mike Arcega’s “Weaving Dollies” is a clever, almost-useful object — four walnut furniture dollies have been woven together to handsome, if impractical, effect. Not sure what it’s doing here, but in his catalog statement Belder admits that some of the artist were chosen simply because they are familiar with rejection. Welcome to the meeting, Mike. Stephanie Syjuco’s installation of white “Personal Protest” signs leaning against two gallery walls is similarly close-but-no-cigar. Rendered in blocky black or red type, the declarations range from “PAY YOUR BILS ON TIME” to “YOUR HAIR LOOKS OK.” Being personal in nature, the protests are mundane, so the piece’s mundane appearance is fitting, I guess, but I was less inspired to take action that I was to move on.\u003c/p>\n\u003cp>The two artists who seem most at home here are Arthur Gonzales and Robert Eads. Gonzales took a series of rejection letters from prestigious New York galleries, UC Davis and a mental-health center and used them as canvases for ruminations on the rejection he had just suffered. In a watercolor on a letter from Charles Cowles Gallery, Gonzales has drawn a lonely figure, elbows on a surface, head in his hands. A thought bubble encircles the word “unfortunately” in the Cowles letter, as in “I am a fan of your work. Unfortunately the gallery is absolutely full at this time.” ‘If he’s really such a fan of my work,’ we imagine the character is thinking, ‘he would have added that he looks forward to showing my work as soon as there’s an opening.’ Rejected again.\u003c/p>\n\u003cp>Robert Eads also uses rejection letters as the raw materials for his art. He even uses the slide sheets that accompanied artist submissions back in the stone age before we all went digital. “Spindle” features dozens of his Xeroxed resumes, rejection letters and slide sheets, many still containing slides of the artist’s work, impaled by a rake, whose handle has been replaced by an evil-looking spike. Eads’s “Rejection Letters” is even simpler in its approach. Reminiscent of the rejection-letter walls that appear at high schools around the country at this time of year, the installation papers an entire gallery wall, floor to ceiling, with decades of polite variations on thanks, but no thanks. When life gives you lemons you make lemonade. Based on the work in \u003cb>It’s Not Us, It’s You\u003c/b>, artists must drink a lot of that stuff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The VIP opening for the \u003cb>Present Tense Biennial: Chinese Character\u003c/b> show at the Chinese Culture Center was slated for 6:30pm. But a cordon of CCC staff and board members and local politicoes — plus curator Kevin Chen and (presumably) all the artists present — barred a packed lobby-ful of attendees from the gallery for an hour, giving speech after speech (and issuing city supervisor-signed certificates). When the gallery finally opened, the entire audience rushed into the exhibition space like a small boar down a boa constrictor’s throat. Worse: the snakelike gallery (entrance at the front, exit at the back) was blocked at the exit end, encouraging viewers to linger in the galleries socializing after they’d finished looking around. It was impossible to see the work.\u003c/p>\n\u003cp>I go into such gory detail because the scene illustrates the glorious contradictions of mounting a show like \u003cb>Present Tense Biennial\u003c/b>. The Chinese in me was amused at the necessity of making sure the city graced this new enterprise, and making sure everyone involved was given face, publicly. The contemporary art viewer in me was annoyed as hell that I had to wait around and then try to see the show through crowds of schmoozers. At the moment, I have little information about how this marriage was arranged, or where the self-proclaimed “biennial” will go in two years. All I know is that, by its very circumstance, the show is both a meld and a clash of three different approaches to representing community.\u003c/p>\n\u003cp>The Chinese Culture Center is a contemporary manifestation of “Old Chinatown,” a way of organizing an increasingly well-educated immigrant population within the traditional ethnic enclave, using the \u003ci>guanxi\u003c/i> (or web of favors and connections) that runs through all sectors and classes of the San Francisco Chinese community. Exhibition co-sponsor Kearny Street Workshop (full disclosure, I was on staff 1999-2003) is a nearly forty-year-old “Asian American Movement” dinosaur, a creation of the early 70s’ critical mass of American-born Asians trying to communicate both with traditional ethnic communities and with the American mainstream, while carving out a third niche to declare and define their own identity.\u003c/p>\n\u003cp>And then there is curator \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/10/02/DDMI1396SM.DTL&hw=kevin+chen&sn=001&sc=1000\">Kevin Chen\u003c/a>. Although \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a> is not directly involved in \u003cb>Present Tense Biennial\u003c/b>, Chen brings to the show a powerful whiff of the ethos he’s helped develop at Intersection in the past decade; an unacknowledged, post-colonial, “post-racial” perfume of a practice that insists on nothing but the ability of the work to play in a contemporary international context.\u003c/p>\n\u003cp>I put “post-racial” in scare quotes because, in the past ten years, our community arts curators and editors have been doing a St. Vitus’ Dance around the question of when identity art begins to eat itself. And no wonder: as long as we don’t grapple directly with this question, we can continue to push the boundaries of what is considered identity art, and satisfy both the clarion call of racial solidarity, and the siren song of aesthetic indulgence. Such curators have been taking advantage of the now-aging tradition of ethnic-specific cultural productions, to sneak in work by artists not of that ethnic description that might bolster or illuminate the body of work being shown. It’s also a small rebellion against pure racial lines, and a sly challenge to the viewer to question racial taxonomies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Present Tense Biennial: Chinese Character\u003c/b> is exciting to me because it is the first acknowledged ethnic arts show I’ve seen that doesn’t just quietly sneak in a racial diversity of artists, but actually declares that tactic as its raison d’etre, and does it in a context of melding three ways of organizing community (past, present, and future?) Billing itself simply as a show where “31 artists reflect on and reinterpret contemporary Chinese culture,” \u003cb>Present Tense\u003c/b> surprises less with its actual work than with its intentions. Much of the work — I assume deliberately — rides the line of orientalism, or at least exotification of the Chinese Other. What’s fascinating is that some of this work is by Chinese Americans, such as Thomas Chang, who’s been making a career out of photographing charged spaces empty of people, to see what is left behind; Chang’s photo series of Chinese landmarks can only be called surreal in the scenes’ utter absence of human presence. It’s squirmily uncomfortable, and some of the best work such a show can present.\u003c/p>\n\u003cp>Don’t get me wrong, the other work is fine … fun and interesting and worthy and all that. But it \u003ci>IS\u003c/i> the usual mix of primarily conceptual candy with raucous and speculative photography and fine drawing: essentially the three modes artists in the Bay Area underground are restricted to. There is a fun column of rice bowls, and an interesting installation of chopsticks painted to become graphs of the racial content of cities where the artist has lived, and a worthy sound installation of different languages emitted from a grid of microphones that looks from a distance like a Go board. There’s Anita Chang’s fun documentary of growing up making fortune cookies and lifting weights. There is a lovely wall installation of calligraphy made from curling twigs. There are walls and walls of beautiful, as well as derivative, photographs of Chinese people, going about their stereotypical or hipsterosyncratic business, depending on the photographer. And, perhaps the best work in the show, there is a wonderful and terribly appropriate series of storefront installations celebrating and parodying the 150-year-old mercantile and export relationship between China and the US.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nothing wrong with that. But is it so wrong of me to find this interesting more because these artists are from different countries and linguistic traditions, and yet working in the same visual idiom towards the same project of de-and-re-stereotyping? Am I missing the point when I say that this show can only be done once before it loses its interest, or that the next biennial will have to diversify aesthetically and formally in order to stay relevant? Is it bad of me to recommend you see the show as a perfect embodiment of a transitional moment in American racial politics? And am I mistaken when I assume that my confusion about which artist did what (caused by poorly placed wall labels) is yet another small symptom of this fascinating shift?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The VIP opening for the \u003cb>Present Tense Biennial: Chinese Character\u003c/b> show at the Chinese Culture Center was slated for 6:30pm. But a cordon of CCC staff and board members and local politicoes — plus curator Kevin Chen and (presumably) all the artists present — barred a packed lobby-ful of attendees from the gallery for an hour, giving speech after speech (and issuing city supervisor-signed certificates). When the gallery finally opened, the entire audience rushed into the exhibition space like a small boar down a boa constrictor’s throat. Worse: the snakelike gallery (entrance at the front, exit at the back) was blocked at the exit end, encouraging viewers to linger in the galleries socializing after they’d finished looking around. It was impossible to see the work.\u003c/p>\n\u003cp>I go into such gory detail because the scene illustrates the glorious contradictions of mounting a show like \u003cb>Present Tense Biennial\u003c/b>. The Chinese in me was amused at the necessity of making sure the city graced this new enterprise, and making sure everyone involved was given face, publicly. The contemporary art viewer in me was annoyed as hell that I had to wait around and then try to see the show through crowds of schmoozers. At the moment, I have little information about how this marriage was arranged, or where the self-proclaimed “biennial” will go in two years. All I know is that, by its very circumstance, the show is both a meld and a clash of three different approaches to representing community.\u003c/p>\n\u003cp>The Chinese Culture Center is a contemporary manifestation of “Old Chinatown,” a way of organizing an increasingly well-educated immigrant population within the traditional ethnic enclave, using the \u003ci>guanxi\u003c/i> (or web of favors and connections) that runs through all sectors and classes of the San Francisco Chinese community. Exhibition co-sponsor Kearny Street Workshop (full disclosure, I was on staff 1999-2003) is a nearly forty-year-old “Asian American Movement” dinosaur, a creation of the early 70s’ critical mass of American-born Asians trying to communicate both with traditional ethnic communities and with the American mainstream, while carving out a third niche to declare and define their own identity.\u003c/p>\n\u003cp>And then there is curator \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/10/02/DDMI1396SM.DTL&hw=kevin+chen&sn=001&sc=1000\">Kevin Chen\u003c/a>. Although \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a> is not directly involved in \u003cb>Present Tense Biennial\u003c/b>, Chen brings to the show a powerful whiff of the ethos he’s helped develop at Intersection in the past decade; an unacknowledged, post-colonial, “post-racial” perfume of a practice that insists on nothing but the ability of the work to play in a contemporary international context.\u003c/p>\n\u003cp>I put “post-racial” in scare quotes because, in the past ten years, our community arts curators and editors have been doing a St. Vitus’ Dance around the question of when identity art begins to eat itself. And no wonder: as long as we don’t grapple directly with this question, we can continue to push the boundaries of what is considered identity art, and satisfy both the clarion call of racial solidarity, and the siren song of aesthetic indulgence. Such curators have been taking advantage of the now-aging tradition of ethnic-specific cultural productions, to sneak in work by artists not of that ethnic description that might bolster or illuminate the body of work being shown. It’s also a small rebellion against pure racial lines, and a sly challenge to the viewer to question racial taxonomies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Present Tense Biennial: Chinese Character\u003c/b> is exciting to me because it is the first acknowledged ethnic arts show I’ve seen that doesn’t just quietly sneak in a racial diversity of artists, but actually declares that tactic as its raison d’etre, and does it in a context of melding three ways of organizing community (past, present, and future?) Billing itself simply as a show where “31 artists reflect on and reinterpret contemporary Chinese culture,” \u003cb>Present Tense\u003c/b> surprises less with its actual work than with its intentions. Much of the work — I assume deliberately — rides the line of orientalism, or at least exotification of the Chinese Other. What’s fascinating is that some of this work is by Chinese Americans, such as Thomas Chang, who’s been making a career out of photographing charged spaces empty of people, to see what is left behind; Chang’s photo series of Chinese landmarks can only be called surreal in the scenes’ utter absence of human presence. It’s squirmily uncomfortable, and some of the best work such a show can present.\u003c/p>\n\u003cp>Don’t get me wrong, the other work is fine … fun and interesting and worthy and all that. But it \u003ci>IS\u003c/i> the usual mix of primarily conceptual candy with raucous and speculative photography and fine drawing: essentially the three modes artists in the Bay Area underground are restricted to. There is a fun column of rice bowls, and an interesting installation of chopsticks painted to become graphs of the racial content of cities where the artist has lived, and a worthy sound installation of different languages emitted from a grid of microphones that looks from a distance like a Go board. There’s Anita Chang’s fun documentary of growing up making fortune cookies and lifting weights. There is a lovely wall installation of calligraphy made from curling twigs. There are walls and walls of beautiful, as well as derivative, photographs of Chinese people, going about their stereotypical or hipsterosyncratic business, depending on the photographer. And, perhaps the best work in the show, there is a wonderful and terribly appropriate series of storefront installations celebrating and parodying the 150-year-old mercantile and export relationship between China and the US.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing wrong with that. But is it so wrong of me to find this interesting more because these artists are from different countries and linguistic traditions, and yet working in the same visual idiom towards the same project of de-and-re-stereotyping? Am I missing the point when I say that this show can only be done once before it loses its interest, or that the next biennial will have to diversify aesthetically and formally in order to stay relevant? Is it bad of me to recommend you see the show as a perfect embodiment of a transitional moment in American racial politics? And am I mistaken when I assume that my confusion about which artist did what (caused by poorly placed wall labels) is yet another small symptom of this fascinating shift?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even though \u003cb>Pop to Present\u003c/b>, on display now through August 16, 2009 at the Cantor Arts Center, is billed as a survey of the Stanford museum’s recent acquisitions of post-Eisenhower-era art, the show is really a stealth homage to Robert Arneson. Arneson is represented by only four pieces, but the strategic placement of his three sculptures and single drawing serves him and the exhibition well.\u003c/p>\n\u003cp>The fun begins before you enter the main gallery. There, outside the door to the Cantor’s first-floor auditorium, you’ll find one of Arneson’s most unsparing ceramic busts, \u003cb>Assassination of a Famous Nut Artist\u003c/b>, 1971. As with many of Arneson’s sculptures, the head of this one is of Arneson himself. With undisguised glee, he depicts himself being stabbed in the shoulder with a Bowie knife and shot by an arrow in the chest. Hovering above the artist’s balding head is a handgun. The gun’s trigger has apparently just been pulled, so that we may enjoy the precise moment when you can see both the artist’s brains being blown to bits and the Looney Tunes smoke ring that envelops the gun’s muzzle.\u003c/p>\n\u003cp>There are so many things to love about this grimly hilarious work, but the Cantor’s installation wants us to do more than spend time drinking in Arneson’s grisly, comedic details. No sooner has our eye taken in \u003cb>Nut Artist\u003c/b> than it is drawn to a painting nearby called \u003cb>A Family Portrait\u003c/b>. Painted by Joan Brown in 1971, this enamel-on-masonite vertical rectangle shows a panda bear in a red, dandyish bowtie standing before a wall papered in repeated images of a large golden koi. At the panda’s feet is a real fish laying inert on a green and pink checkerboard floor. And next to the panda is a cat or cougar-like being (one human hand betrays the creature’s mixed species) in a white fur coat holding a purse. Mom and dad, with their improbable spawn on the floor? Whatever the relationship between the characters in this curious work, it is a form of portraiture that would never be confused with Arneson’s. His portrait is aggressive in its content and three-dimensionality. Brown’s painting is deliberately flat, from the expressions on her subjects’ faces to the way they are rendered as mere cutouts, one laid atop the other in a cursory nod to space and depth.\u003c/p>\n\u003cp>Entering the show’s main gallery, we are greeted again by an Arneson. This time it’s a mixed media drawing from 1985 titled \u003cb>Colonel Hyena\u003c/b>. During the Reagan administration, which many people today regard with pathologically sentimental fondness, Arneson was ripping Ronny’s war machine a new one. In the case of the good colonel, he’s a bad-acid-trip, Kubrickian nightmare. His blood-red aviator glasses rest atop a phallic missile nose, below which is a demonic zombie-clown leer. Being a hyena, he’s laughing at the little people, we suppose, whose lives mean less than nothing to a monster like him. He eats people like us for breakfast.\u003c/p>\n\u003cp>Directly to the left of \u003cb>Colonel Hyena\u003c/b> is Douglas McDougall’s similarly in-your-face portrait called \u003cb>Another Drink to Cold Women\u003c/b> from his CitizenScapes series. It is, according to a statement on the wall, a picture of a guy from the artist’s neighborhood named Theo, whom McDougall has been capturing in charcoal on paper for a number of years now. Theo is one of those people who have been trampled by life, and his face, lovingly rendered by McDougall, appears subtly out of focus, what we imagine the world looks like to Theo. It is a terrific drawing of fleshy downtrodden humanity, made all the more poignant when paired with Arneson’s expressive commentary on uniformed inhumanity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition continues with a number of unremarkable pieces by Richard Avedon, Anthony Caro, Al Held, Richard Long and Dennis Oppenheim, whose collective insignificance is amply offset by a remarkable Elmer Bischoff from 1969. And then we come upon a gallery mostly devoted to six prints by Roy Lichtenstein. The opposing walls of the gallery have been painted in Benday dots and stripes, each motif lifted from a detail in one of Lichtenstein’s prints. It sounds corny but it’s kind of cool. The far wall is the most powerful, filled with four large prints from 1990. To the left is an empty blue chair beside a lamp. In the middle is a living room with a Warhol Mao print on the wall (this being a Lichtenstein, it lacks Warhol’s delirious sense of color). Then there’s a den scene, followed by a print of a couch on a blue floor, both of which are reflected in floor-to-ceiling mirrors.\u003c/p>\n\u003cp>It’s all so very beautiful and bland, and then we notice that the primary-color prints have been paired with another Arneson. This time we get an early piece from 1964 titled \u003cb>His and Hers\u003c/b>. This surreal pair of stoneware toilets must have been scandalous at the time, but here in the Cantor, with little kids giggling at the breasts behind the woman’s toilet and the turds scattered around the base of the men’s, the sculpture is a rough-hewn reality check to Lichtenstein’s antiseptic aesthetic. Both artists benefit from the proximity.\u003c/p>\n\u003cp>Around the corner, in the gallery hallway leading to other corners of the museum, we find the final Arneson, another anti-war, anti-imperialism piece from the Reagan era positioned near a lifesize Manuel Neri figure. With the words \u003cb>War Memorial\u003c/b> stamped onto its base and a black globe beneath a deformed and beaten head, the Arneson pulls no punches, trading the artist’s light touch for a nasty far-right hook. The Neri, by comparison, looks like a piece of sculpture in a museum, a classical, ultimately academic rumination on the figure and the human form. Neri does a fine job of producing objects that fit neatly into that hallowed continuum known as art history. Arneson preferred to make it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Pop to Present\u003c/b> runs through August 16, 2009 at the Cantor Arts Center at Stanford University. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit museum.stanford.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though \u003cb>Pop to Present\u003c/b>, on display now through August 16, 2009 at the Cantor Arts Center, is billed as a survey of the Stanford museum’s recent acquisitions of post-Eisenhower-era art, the show is really a stealth homage to Robert Arneson. Arneson is represented by only four pieces, but the strategic placement of his three sculptures and single drawing serves him and the exhibition well.\u003c/p>\n\u003cp>The fun begins before you enter the main gallery. There, outside the door to the Cantor’s first-floor auditorium, you’ll find one of Arneson’s most unsparing ceramic busts, \u003cb>Assassination of a Famous Nut Artist\u003c/b>, 1971. As with many of Arneson’s sculptures, the head of this one is of Arneson himself. With undisguised glee, he depicts himself being stabbed in the shoulder with a Bowie knife and shot by an arrow in the chest. Hovering above the artist’s balding head is a handgun. The gun’s trigger has apparently just been pulled, so that we may enjoy the precise moment when you can see both the artist’s brains being blown to bits and the Looney Tunes smoke ring that envelops the gun’s muzzle.\u003c/p>\n\u003cp>There are so many things to love about this grimly hilarious work, but the Cantor’s installation wants us to do more than spend time drinking in Arneson’s grisly, comedic details. No sooner has our eye taken in \u003cb>Nut Artist\u003c/b> than it is drawn to a painting nearby called \u003cb>A Family Portrait\u003c/b>. Painted by Joan Brown in 1971, this enamel-on-masonite vertical rectangle shows a panda bear in a red, dandyish bowtie standing before a wall papered in repeated images of a large golden koi. At the panda’s feet is a real fish laying inert on a green and pink checkerboard floor. And next to the panda is a cat or cougar-like being (one human hand betrays the creature’s mixed species) in a white fur coat holding a purse. Mom and dad, with their improbable spawn on the floor? Whatever the relationship between the characters in this curious work, it is a form of portraiture that would never be confused with Arneson’s. His portrait is aggressive in its content and three-dimensionality. Brown’s painting is deliberately flat, from the expressions on her subjects’ faces to the way they are rendered as mere cutouts, one laid atop the other in a cursory nod to space and depth.\u003c/p>\n\u003cp>Entering the show’s main gallery, we are greeted again by an Arneson. This time it’s a mixed media drawing from 1985 titled \u003cb>Colonel Hyena\u003c/b>. During the Reagan administration, which many people today regard with pathologically sentimental fondness, Arneson was ripping Ronny’s war machine a new one. In the case of the good colonel, he’s a bad-acid-trip, Kubrickian nightmare. His blood-red aviator glasses rest atop a phallic missile nose, below which is a demonic zombie-clown leer. Being a hyena, he’s laughing at the little people, we suppose, whose lives mean less than nothing to a monster like him. He eats people like us for breakfast.\u003c/p>\n\u003cp>Directly to the left of \u003cb>Colonel Hyena\u003c/b> is Douglas McDougall’s similarly in-your-face portrait called \u003cb>Another Drink to Cold Women\u003c/b> from his CitizenScapes series. It is, according to a statement on the wall, a picture of a guy from the artist’s neighborhood named Theo, whom McDougall has been capturing in charcoal on paper for a number of years now. Theo is one of those people who have been trampled by life, and his face, lovingly rendered by McDougall, appears subtly out of focus, what we imagine the world looks like to Theo. It is a terrific drawing of fleshy downtrodden humanity, made all the more poignant when paired with Arneson’s expressive commentary on uniformed inhumanity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition continues with a number of unremarkable pieces by Richard Avedon, Anthony Caro, Al Held, Richard Long and Dennis Oppenheim, whose collective insignificance is amply offset by a remarkable Elmer Bischoff from 1969. And then we come upon a gallery mostly devoted to six prints by Roy Lichtenstein. The opposing walls of the gallery have been painted in Benday dots and stripes, each motif lifted from a detail in one of Lichtenstein’s prints. It sounds corny but it’s kind of cool. The far wall is the most powerful, filled with four large prints from 1990. To the left is an empty blue chair beside a lamp. In the middle is a living room with a Warhol Mao print on the wall (this being a Lichtenstein, it lacks Warhol’s delirious sense of color). Then there’s a den scene, followed by a print of a couch on a blue floor, both of which are reflected in floor-to-ceiling mirrors.\u003c/p>\n\u003cp>It’s all so very beautiful and bland, and then we notice that the primary-color prints have been paired with another Arneson. This time we get an early piece from 1964 titled \u003cb>His and Hers\u003c/b>. This surreal pair of stoneware toilets must have been scandalous at the time, but here in the Cantor, with little kids giggling at the breasts behind the woman’s toilet and the turds scattered around the base of the men’s, the sculpture is a rough-hewn reality check to Lichtenstein’s antiseptic aesthetic. Both artists benefit from the proximity.\u003c/p>\n\u003cp>Around the corner, in the gallery hallway leading to other corners of the museum, we find the final Arneson, another anti-war, anti-imperialism piece from the Reagan era positioned near a lifesize Manuel Neri figure. With the words \u003cb>War Memorial\u003c/b> stamped onto its base and a black globe beneath a deformed and beaten head, the Arneson pulls no punches, trading the artist’s light touch for a nasty far-right hook. The Neri, by comparison, looks like a piece of sculpture in a museum, a classical, ultimately academic rumination on the figure and the human form. Neri does a fine job of producing objects that fit neatly into that hallowed continuum known as art history. Arneson preferred to make it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The artist Porous Walker is a personality inhabited by a guy named Jimmy DiMarcellis. Porous makes art, lots of it. In his new solo show at Receiver Gallery, the walls are packed with plastic toy collages held together by hot glue, inevitable glue strings are unapologetically spider-webbed between the objects. A cluster of balloons hangs from the ceiling, some penned with warnings of self-destruction. On the far side of a large installation of drawings and miscellany on wood, a father and son are painted directly on the wall. The boy asks, “Hey Dad, is that art?” and the father replies, “Heck no son, that’s your inheritance melting away.”\u003c/p>\n\u003cp>The gallery’s announcement for Porous’s \u003cb>Me vs. Me\u003c/b> opening celebration said, “Prizes and money will be given away at random throughout the evening,” so I figured it would be an opening worth fighting a crowd for, and it was. In spite of my complete disbelief that I’d see any free money, I was handed a fifty-cent piece minutes after entering the gallery. I was squished in with the crowd, so it seemed the artist was on the lookout for newcomers, making sure we got what we came for. An art-purchasing liaison worked the crowd with a clipboard, and I snagged him quickly because I’m a fan of Porous’s style and the few dollars in my pocket (plus the free Kennedy coin) were enough for a substantial piece of art.\u003c/p>\n\u003cp>Some of the drawings are sexually oriented; hence the announcement’s warning to think twice about bringing “children, conservatives or uptight, emotionally juvenile mortgage brokers to view the show.” There’s a doormat made of fake poo on the floor, and it could be said that the installation looks like a creepy clown exploded all over the place. But I found the show enjoyable and particularly perfect for the times. The artist made a generous effort to inspire his crowd. He also paid tribute to fellow creative folks by inviting them to draw on the wall, and by making plastic food portraits of his favorites. Local artists Kelly Tunstall and Ferris Plock are represented as two halves of a plastic peanut butter and jelly sandwich. Folk musician Peggy Honeywell is a plastic waffle.\u003c/p>\n\u003cp>Porous was recently diagnosed with bipolar disorder, and the exhibit is a visualization of his self-help process prior to considering medication. It’s unclear whether Jimmy DiMarcellis or Porous Walker is the one suffering from an imbalance, or whether there could have been a misdiagnosis due to the artist’s insatiable creative obsessions. Regardless, the show is loaded with heart and humor, and it’s Porous’s gift to you. If you don’t like it, just remember: it’s the thought that counts.\u003c/p>\n\u003cp>Porous Walker’s \u003cb>Me vs. Me\u003c/b> is on view through May 8, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist Porous Walker is a personality inhabited by a guy named Jimmy DiMarcellis. Porous makes art, lots of it. In his new solo show at Receiver Gallery, the walls are packed with plastic toy collages held together by hot glue, inevitable glue strings are unapologetically spider-webbed between the objects. A cluster of balloons hangs from the ceiling, some penned with warnings of self-destruction. On the far side of a large installation of drawings and miscellany on wood, a father and son are painted directly on the wall. The boy asks, “Hey Dad, is that art?” and the father replies, “Heck no son, that’s your inheritance melting away.”\u003c/p>\n\u003cp>The gallery’s announcement for Porous’s \u003cb>Me vs. Me\u003c/b> opening celebration said, “Prizes and money will be given away at random throughout the evening,” so I figured it would be an opening worth fighting a crowd for, and it was. In spite of my complete disbelief that I’d see any free money, I was handed a fifty-cent piece minutes after entering the gallery. I was squished in with the crowd, so it seemed the artist was on the lookout for newcomers, making sure we got what we came for. An art-purchasing liaison worked the crowd with a clipboard, and I snagged him quickly because I’m a fan of Porous’s style and the few dollars in my pocket (plus the free Kennedy coin) were enough for a substantial piece of art.\u003c/p>\n\u003cp>Some of the drawings are sexually oriented; hence the announcement’s warning to think twice about bringing “children, conservatives or uptight, emotionally juvenile mortgage brokers to view the show.” There’s a doormat made of fake poo on the floor, and it could be said that the installation looks like a creepy clown exploded all over the place. But I found the show enjoyable and particularly perfect for the times. The artist made a generous effort to inspire his crowd. He also paid tribute to fellow creative folks by inviting them to draw on the wall, and by making plastic food portraits of his favorites. Local artists Kelly Tunstall and Ferris Plock are represented as two halves of a plastic peanut butter and jelly sandwich. Folk musician Peggy Honeywell is a plastic waffle.\u003c/p>\n\u003cp>Porous was recently diagnosed with bipolar disorder, and the exhibit is a visualization of his self-help process prior to considering medication. It’s unclear whether Jimmy DiMarcellis or Porous Walker is the one suffering from an imbalance, or whether there could have been a misdiagnosis due to the artist’s insatiable creative obsessions. Regardless, the show is loaded with heart and humor, and it’s Porous’s gift to you. If you don’t like it, just remember: it’s the thought that counts.\u003c/p>\n\u003cp>Porous Walker’s \u003cb>Me vs. Me\u003c/b> is on view through May 8, 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Perhaps our culture hasn’t just gone crazy. Maybe ideas need to swing back and forth like political regimes, or the length of skirts. Evolution/Creation, for example, seems to go in forty-year increments. Pope Leo XIII issued his encyclical accepting evolution in 1880. The Butler Act and Scopes “Monkey” Trial happened in 1925, banning evolution from Tennessee schools. \u003ci>Epperson vs. Arkansas\u003c/i>, reversing that decision, came in 1968. It’s forty years later now, so we’re about due for another swing.\u003c/p>\n\u003cp>Thing is, ideas are not just a tug of war between liberal and conservative sides. Ideas swing for both. The \u003cb>[Print] Run\u003c/b> show at 21 Grand that opened at last Friday’s \u003ca href=\"http://www.oaklandartmurmur.com/\">Art Murmur\u003c/a> might display another way — a liberal way, an agnostic way — for Darwinism to swing back. When we accept evolution, our relationship with animals and the natural world is complex: we identify ourselves with them and anthropomorphize them. We get things like \u003ca href=\"http://www.imdb.com/title/tt0060182/\">Born Free\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Jonathan_Livingston_Seagull\">Jonathan Livingston Seagull\u003c/a>: animals as a screen through which we discover our humanity and spirituality. When we — as a culture — contest evolution, our relationship with animals simplifies again and animals become objects and symbols.\u003c/p>\n\u003cp>This might be a stretch. Let me try again:\u003cbr>\u003cb>[Print] Run\u003c/b> is a small show: 2 artists, 3 walls, 5 paintings, 2 installations of small prints and blocks, plus a few loose posters. So it’s hard not to notice the common visual elements: bright colors and animals treated with a graphic, a pictorial, sensibility.\u003c/p>\n\u003cp>Print and bookmaker Patricia Wakida’s lino prints \u003ci>are\u003c/i> graphics: postcards, calendar pages, event posters. You don’t have to know Wakida [full disclosure: I do; we are friends and both consult with \u003ca href=\"http://kaya.com/\">Kaya Press\u003c/a>] to see this exhibition as a confessional display of her practice, an organic, pluralist practice wandering through design, illustration, printmaking, letterpress printing, experimental bookmaking, and writing. Her Asian zodiac calendar and postcard series have left her with, so far, a decade’s worth of animal archetypes to display. Other projects examining local food growers or one-offs have domestic animals and trout curving across landscapes as lines, figures, and representatives of various sustainable values. Long an advocate for Californian cultures and Asian American history, Wakida has developed an aesthetic that combines 19th century japonisme and groovy environmentalism with socialist realism and deliberate DIY roughness.\u003c/p>\n\u003cp>Jason Byers’s paintings, on the other hoof, \u003ci>are\u003c/i> paintings. In each, a field of bright, solid color encroaches on a blurred, dark scene — landscape? figures? On each of these fields of candy color an illustration of a healthy, noble wild animal (stag, elephant, giraffe) is outlined and colored in. Each painting is underlined, literally, by a tonal scale, i.e. a strip of squares of color in progressive order. The deliberately pictorial quality of the animals insists on irony and distance. It’s hard not to view this series as a blotting out of complexity and naturalism by a children’s picture book sensibility, although to get there, you’d have to employ the very simplistic/symbolic thinking the paintings seem to critique.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two artists in one small 21 Grand show is a pretty weak argument, but elsewhere at Art Murmur this year, things I’ve been seeing lately have been coming together. \u003ca href=\"http://www.mamabuzzcafe.com/index.php?section=gallery%20\">Buzz Gallery\u003c/a> is showing a series of prints by Case Conover made from collected rubber stamps. These surprisingly lovely and complex (not to mention, colorful) pieces are made mostly from a stamp of a tree, the globe, a leaf, and a ladybug: symbols of environmentalism and nature rendered into convenient modules for replication. The tree is both figure and symbol here; what it is \u003ci>not\u003c/i> is a rendering of a tree. At \u003ca href=\"http://johanssonprojects.com/default.htm\">Johansson Projects\u003c/a> Marina Vendrell Renaut creates creature sculptures from “reclaimed” furs and candy-colored patterned sweaters that you can play with: pull their tails to hear music or use the radio controller to drive them around the gallery. Again, the intention here is both meta/critical and syncretic, both to study the subordination of false naturalism to falser allegory, and to cram as many sensibilities under one roof as possible. And to use children’s toys to do it.\u003c/p>\n\u003cp>Heck, check out the \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=8191\">Nick Cave show at YBCA\u003c/a>. His earlier work is about turning the human body into an alien or an animal with fake fur costumes. But more recent work includes creating free-standing, stuffed sculptures of polar bears and armadillos, out of candy-colored patterned sweaters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What is this? A conspiracy? I’m not making grand claims here, just noticing a pattern. “Nature” is ironically reduced. Animals are reordered into symbols and removed from anthropomorphism — alienated, in fact. These symbols are modularized for critical, and joyful, replication. Children’s design and play are parodied; bright, solid colors employed. Unfashionable, modernist naturalism is demonstratively blotted out. I’m only half joking, and only half serious, about the evolution/creation thing, but regardless, this is a large step away from the cartoon-influenced drawing and painting of the last decade or so. Is something happening here or am I imagining things?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps our culture hasn’t just gone crazy. Maybe ideas need to swing back and forth like political regimes, or the length of skirts. Evolution/Creation, for example, seems to go in forty-year increments. Pope Leo XIII issued his encyclical accepting evolution in 1880. The Butler Act and Scopes “Monkey” Trial happened in 1925, banning evolution from Tennessee schools. \u003ci>Epperson vs. Arkansas\u003c/i>, reversing that decision, came in 1968. It’s forty years later now, so we’re about due for another swing.\u003c/p>\n\u003cp>Thing is, ideas are not just a tug of war between liberal and conservative sides. Ideas swing for both. The \u003cb>[Print] Run\u003c/b> show at 21 Grand that opened at last Friday’s \u003ca href=\"http://www.oaklandartmurmur.com/\">Art Murmur\u003c/a> might display another way — a liberal way, an agnostic way — for Darwinism to swing back. When we accept evolution, our relationship with animals and the natural world is complex: we identify ourselves with them and anthropomorphize them. We get things like \u003ca href=\"http://www.imdb.com/title/tt0060182/\">Born Free\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Jonathan_Livingston_Seagull\">Jonathan Livingston Seagull\u003c/a>: animals as a screen through which we discover our humanity and spirituality. When we — as a culture — contest evolution, our relationship with animals simplifies again and animals become objects and symbols.\u003c/p>\n\u003cp>This might be a stretch. Let me try again:\u003cbr>\u003cb>[Print] Run\u003c/b> is a small show: 2 artists, 3 walls, 5 paintings, 2 installations of small prints and blocks, plus a few loose posters. So it’s hard not to notice the common visual elements: bright colors and animals treated with a graphic, a pictorial, sensibility.\u003c/p>\n\u003cp>Print and bookmaker Patricia Wakida’s lino prints \u003ci>are\u003c/i> graphics: postcards, calendar pages, event posters. You don’t have to know Wakida [full disclosure: I do; we are friends and both consult with \u003ca href=\"http://kaya.com/\">Kaya Press\u003c/a>] to see this exhibition as a confessional display of her practice, an organic, pluralist practice wandering through design, illustration, printmaking, letterpress printing, experimental bookmaking, and writing. Her Asian zodiac calendar and postcard series have left her with, so far, a decade’s worth of animal archetypes to display. Other projects examining local food growers or one-offs have domestic animals and trout curving across landscapes as lines, figures, and representatives of various sustainable values. Long an advocate for Californian cultures and Asian American history, Wakida has developed an aesthetic that combines 19th century japonisme and groovy environmentalism with socialist realism and deliberate DIY roughness.\u003c/p>\n\u003cp>Jason Byers’s paintings, on the other hoof, \u003ci>are\u003c/i> paintings. In each, a field of bright, solid color encroaches on a blurred, dark scene — landscape? figures? On each of these fields of candy color an illustration of a healthy, noble wild animal (stag, elephant, giraffe) is outlined and colored in. Each painting is underlined, literally, by a tonal scale, i.e. a strip of squares of color in progressive order. The deliberately pictorial quality of the animals insists on irony and distance. It’s hard not to view this series as a blotting out of complexity and naturalism by a children’s picture book sensibility, although to get there, you’d have to employ the very simplistic/symbolic thinking the paintings seem to critique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two artists in one small 21 Grand show is a pretty weak argument, but elsewhere at Art Murmur this year, things I’ve been seeing lately have been coming together. \u003ca href=\"http://www.mamabuzzcafe.com/index.php?section=gallery%20\">Buzz Gallery\u003c/a> is showing a series of prints by Case Conover made from collected rubber stamps. These surprisingly lovely and complex (not to mention, colorful) pieces are made mostly from a stamp of a tree, the globe, a leaf, and a ladybug: symbols of environmentalism and nature rendered into convenient modules for replication. The tree is both figure and symbol here; what it is \u003ci>not\u003c/i> is a rendering of a tree. At \u003ca href=\"http://johanssonprojects.com/default.htm\">Johansson Projects\u003c/a> Marina Vendrell Renaut creates creature sculptures from “reclaimed” furs and candy-colored patterned sweaters that you can play with: pull their tails to hear music or use the radio controller to drive them around the gallery. Again, the intention here is both meta/critical and syncretic, both to study the subordination of false naturalism to falser allegory, and to cram as many sensibilities under one roof as possible. And to use children’s toys to do it.\u003c/p>\n\u003cp>Heck, check out the \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=8191\">Nick Cave show at YBCA\u003c/a>. His earlier work is about turning the human body into an alien or an animal with fake fur costumes. But more recent work includes creating free-standing, stuffed sculptures of polar bears and armadillos, out of candy-colored patterned sweaters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What is this? A conspiracy? I’m not making grand claims here, just noticing a pattern. “Nature” is ironically reduced. Animals are reordered into symbols and removed from anthropomorphism — alienated, in fact. These symbols are modularized for critical, and joyful, replication. Children’s design and play are parodied; bright, solid colors employed. Unfashionable, modernist naturalism is demonstratively blotted out. I’m only half joking, and only half serious, about the evolution/creation thing, but regardless, this is a large step away from the cartoon-influenced drawing and painting of the last decade or so. Is something happening here or am I imagining things?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s something about optimism in small spaces; it makes everything feel a little bigger.\u003c/p>\n\u003cp>\u003cb>The Optimistic Life & Mind\u003c/b> is a series of new paintings by Mark Warren Jacques, now showing at Rare Device’s petite gallery in San Francisco. According to Jaques, his most recent paintings are about energy: “Some days I try to imagine I know where I am right now. On those days if I am painting, or thing making, like all the other folks who create and guess to explain, I am happy. On the other hand I love the energy that is not knowing too. I thrive on that energy to keep living happily.”\u003c/p>\n\u003cp>The paintings on either side of the little gallery reveal that difference in energy. Some of the paintings feel light, with warm colors and wispy, organic movement. Others feel grounded by triangles, geometric patterns, and a heavy use of black. There’s almost a feeling of celestial-meets-Navajo in the patterns and motifs. The paintings are full of planet-like circles set against black backgrounds, radiating triangles, and zig-zagging patterns reminiscent of the Freemasons. One of those motifs is repeated in a charming band, painted onto the walls of the gallery and winds cheerfully around the artwork.\u003c/p>\n\u003cp>Part of my experience with this exhibit was willing myself to read these paintings as optimistic. As I took them in, I realized there is something hopeful and appropriate about returning to the basics.\u003c/p>\n\u003cp>Jaques includes plenty of motion and fine detail in his paintings, and his candor is refreshing. “I have no idea what any of us are doing here, how we got here, or where we are all going later,” he says, coming clean about not having all the answers. But his optimism is contagious. His titles and imagery transmit hope, and that hope hums off the walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Optimistic Life & Mind\u003c/b> by Mark Warren Jacques is at Rare Device 1845 Market Street in San Francisco through April 29, 2009. For \u003ca href=\"http://www.raredevice.net/index.php\">more information\u003c/a> visit raredevice.net.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something about optimism in small spaces; it makes everything feel a little bigger.\u003c/p>\n\u003cp>\u003cb>The Optimistic Life & Mind\u003c/b> is a series of new paintings by Mark Warren Jacques, now showing at Rare Device’s petite gallery in San Francisco. According to Jaques, his most recent paintings are about energy: “Some days I try to imagine I know where I am right now. On those days if I am painting, or thing making, like all the other folks who create and guess to explain, I am happy. On the other hand I love the energy that is not knowing too. I thrive on that energy to keep living happily.”\u003c/p>\n\u003cp>The paintings on either side of the little gallery reveal that difference in energy. Some of the paintings feel light, with warm colors and wispy, organic movement. Others feel grounded by triangles, geometric patterns, and a heavy use of black. There’s almost a feeling of celestial-meets-Navajo in the patterns and motifs. The paintings are full of planet-like circles set against black backgrounds, radiating triangles, and zig-zagging patterns reminiscent of the Freemasons. One of those motifs is repeated in a charming band, painted onto the walls of the gallery and winds cheerfully around the artwork.\u003c/p>\n\u003cp>Part of my experience with this exhibit was willing myself to read these paintings as optimistic. As I took them in, I realized there is something hopeful and appropriate about returning to the basics.\u003c/p>\n\u003cp>Jaques includes plenty of motion and fine detail in his paintings, and his candor is refreshing. “I have no idea what any of us are doing here, how we got here, or where we are all going later,” he says, coming clean about not having all the answers. But his optimism is contagious. His titles and imagery transmit hope, and that hope hums off the walls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Optimistic Life & Mind\u003c/b> by Mark Warren Jacques is at Rare Device 1845 Market Street in San Francisco through April 29, 2009. For \u003ca href=\"http://www.raredevice.net/index.php\">more information\u003c/a> visit raredevice.net.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The series of drawings that make up \u003cb>Advice Portraits\u003c/b> by San Francisco artist Maria Forde makes you lean in a little closer.\u003c/p>\n\u003cp>For her exhibit, Forde turned to her friends as subjects and sources of wisdom. Surrounding each portrait is a piece of advice. One person encourages recycling, another suggests rooting for the underdog, and another passes along car advice from his mother. Each is drawn with a lightness and care that feels intimate.\u003c/p>\n\u003cp>Every subject exudes a quiet satisfaction, as if they have the answers Forde is looking for. The subjects are mostly young, and look like people you might pass on the street, stand next to on the bus or encounter in line at the taqueria.\u003c/p>\n\u003cp>That demographic contrasts the one depicted in Forde’s new zine, \u003cb>Longview\u003c/b> which was released in conjunction with the show. \u003cb>Longview\u003c/b> is a sweet ode to people who live in the same retirement home as Forde’s grandmother. Forde describes her inspiration to visit the retirement home in her own handwriting on the back cover: “Life is confusing and complicated and I feel sometimes like I’m lost. Like I wish someone could point out the way for me. You know, explain how it all works. Because who wants to feel like they are bumbling along making mistakes and not learning from them? Just walking in a circle and not getting anywhere. So, I thought I’d go ask some people who made it a long way in life.”\u003c/p>\n\u003cp>Their advice is simple, but feels elevated by the care Forde takes with her subjects. She draws every portrait in her carefully detailed style, and includes short but revealing snippets about their long life, and small details — like one woman’s red suit, another man’s vertical blinds, and another’s invitation to Forde to come back and visit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is a tenderness to Forde’s work that makes me thankful she chose to lavish so much care on her subjects. Their plainspoken advice makes me feel like everything is going to be okay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Advice Portraits\u003c/b> by Maria Forde is at Needles and Pens 3253 16th Street in San Francisco through April 26, 2009. For \u003ca href=\"http://www.needles-pens.com\">more information\u003c/a> visit needles-pens.com.\u003c/p>\n\n",
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"content": "\u003cp>The Berkeley Art Museum collaborated with an unusual team for its new show. Curators from BAM and the \u003ca href=\"http://www.mcasd.org/\">Museum of Contemporary Art San Diego\u003c/a> worked with \u003ca href=\"http://rareconservation.org/index.php\">Rare\u003c/a>, an international conservation organization, to send eight artists to culturally — and environmentally — threatened places around the world. Each artist chose a different World Heritage Site, and created work in response to his or her experience there.\u003c/p>\n\u003cp>Though the exhibition seems, from the outside, to put an emphasis on environmental conservation, the pieces are all really about people. And it makes for a richer show. Mark Dion visited Komodo National Park in Indonesia, home to Komodo dragons. His work isn’t about the giant deadly lizards or their habitat, but about the people who work in the park. In fact, he made it for the people who work in the park. Dion built a brightly-colored mobile cart stocked with small tools, office supplies, a first aid kit, and games and books for the park rangers. The cart stayed in Indonesia, and Dion constructed a replica to display at BAM. The cart powerfully conjures a place. I’ve never been to Komodo National Park (anyone interested in funding a \u003cb>KQED Arts\u003c/b> blog post on-location, please get in touch), but I could picture the cart sitting by the side of a dusty road on a hot day.\u003c/p>\n\u003cp>My favorite piece in the show was created by Bay Area artist Rigo 23 in Brazil’s Atlantic Forest South-East Reserves. A mobile in the shape of a bomb hovers over the gallery, dropping wooden and feather animals toward the museum-goers below. The effect is magical; the little animals look like a rain shower. Rigo 23 built this and his other piece, a nuclear submarine made of mud and sticks covered in small dolls, together with people living in the area. The locals helped him design and build the basket weapons, and helped imbue them with a sense of life and friendship.\u003c/p>\n\u003cp>Another collaboration with locals resulted in a new fundraising strategy: Xu Bing went to Kenya, where he worked with school children. The kids drew pictures of trees, which are on display at BAM, and which can be purchased at an \u003ca href=\"http://forestproject.net/auction/index.php\">auction site\u003c/a>. The money goes back to Kenya where it will fund reforestation. In this case, art really is inspiring conservation.\u003c/p>\n\u003cp>Other artists visited the Galápagos Islands, a mountainous region in China’s Yunnan Province, and North American glaciers. Diana Thater filmed animals and people watching animals in the iSimangaliso Wetland Park in South Africa. The video is frenetic and jittery. It jumps from giraffes to cars to zebras, but is best when it pauses for a breath and lingers on an elephant. It feels small compared to Iñigo Manglano-Ovalle’s \u003cb>Juggernaut\u003c/b>, a video showing the industrial saltworks near a whale preserve in Mexico. The camera slides along a massive salt plain. An impossibly large truck goes by. The rumble of the truck is so low, it’s as palpable as it is audible. I was enrapt. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pieces in this show all act as a sort of witness to disappearing cultures and places. Even though it’s not huge, the joy of creative collaboration and the sorrow of loss permeate the show, and make it feel full.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Human/Nature\u003c/b> runs through September 27, 2009 at the Berkeley Art Museum at 2626 Bancroft Way in Berkeley.\u003c/p>\n\n",
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"content": "\u003cp>Do I need to be saved? If you drove around my neighborhood you might think so. Check-cashing stores promise to tide me over till next payday and prostitutes offer to give me the best night of my life. Urban offers of salvation are everywhere if you look for them, in both strip mall churches and stores with limited time discounts. Berkeley artist Jake Watling knows this. In the paintings and installation now on display at the Swarm Gallery, he depicts all manner of drive-by promises, from storefront signs to used tire outlets giving them away for free.\u003c/p>\n\u003cp>Using a palette heavy on Bart Simpson yellow, Watling mimics the crude signs he critiques, employing bright colors and a blunt drawing style to get across his point. And his point, or one of his points, seems to be this: Even in the most secular of places, in the cement-paved and gray landscapes of our cities, we are looking for ways to both save and be saved. Our desire for grace is not limited to the sanctified interiors of churches or the idyllic pastures of outdoor Baptist picnics.\u003c/p>\n\u003cp>Mixed among these sites are recurring characters: messianic hand wavers, a bandana-clad biker, and a mysterious figure wearing a tan grass skirt. The latter has a cone-shaped head and features similar to those of Jack, the mascot for Jack in the Box. But he’s not just a smiling face; he is meant to be a Polynesian symbol of life, death, and transitions. Watling deals more directly with these themes in a series of paintings that feels separate from his wood panels of urban signage. In the diptych \u003cb>Torodal\u003c/b>, he depicts a man shielding his face in a hospital bed, juxtaposing this scene with one of crowded church pews. A man waves his hands beside a sign screaming “Save” and a pious family of three sit with bibles in their laps. The question seems to be: What is all this evangelical preaching and promising worth if we’re all going to die anyway?\u003c/p>\n\u003cp>There are other artists on display at the Swarm Gallery. In fact, Watling’s work is part of a group show called \u003cb>Enter, Exit\u003c/b>. It includes sculpture and paintings by Jared Clark and a single sculpture by Joe Penrod. Clark’s enlarged to-do lists merge narrative with imagery. In them, the artist charts his obligations, connecting list items with a circuit of meandering lines and sticking a pin over every dotted “i.” Joe Penrod’s \u003cb>Orange and Blue\u003c/b> continues the urban theme initiated in Watling’s work with a column of orange cones that precariously rise to the ceiling.\u003c/p>\n\u003cp>The show’s literature asks a series of questions as its way of providing a curatorial theme: “When you walk into a gallery, what will happen in the time before you walk out? What will you see and connect to?” I guess this review’s focus is my own answer to that question. Clark’s and Penrod’s work was colorful and intriguing, but Watling’s paintings made me smile. And if preaching and promising don’t do any good in the face of death, then a smile is worth quite a bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Enter, Exit\u003c/b> is on display at Swarm Gallery, 560 Second Street, Oakland, through March 29, 2009. For more information, call 510-839-2787.\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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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": {
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"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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