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"content": "\u003cp>A friend recently compared my apartment to her grade school notebook covered in stickers because my walls are plastered with colorful things I’ve made. The stuff is just stored there, looking at me, constantly nagging me to find it another home. But for some artists, the homes they occupy become works of art themselves, with no suggestion of a need for a removal. The interior might be painted with murals, the stairway made of shells, or the yard covered in handcrafted wooden dolls with tape recorders in their mouths. It is not surprising to discover that more than a handful of homes like these have existed within the borders of our dear California — land of fruits, nuts, and artists.\u003c/p>\n\u003cp>For the Museum of Craft and Folk Art’s \u003cb>Inside/Outside\u003c/b> exhibition of artist environments, Mike Shine was commissioned to create what he calls a 90% true-to-life replica of his home in Bolinas where figures inspired by mythology, philosophy and the devil roam free on painted walls and doors. A fireplace crackles in the cozy, orange, 70s mod-style room, complete with lava lamp, an 8-track tape collection, butterfly chairs, and a wolf-man sitting at the kitchen table, beer in hand. You can get comfy in there. There’s a shelf of books, and Shine invites you to take a load off and create some art in an available sketchbook. I drew an owl. The shack’s exterior also remains true to the original; a surfboard leans against the wall next to a set of barbecue tools. Though the doors don’t open, and the loft ladder leads to nowhere, the remake gives a genuine sense of Shine’s real home — documented on \u003ca href=\"http://www.shinelounge.com\">his Web site\u003c/a> — where his life and art intermingle just the way he likes it. The story of how he met his wife was one of the first things he painted on the walls, in his signature surf-style font. Anyone with a fondness for the 70s aesthetic will love his work. Though my grandmother’s house wasn’t orange, Shine’s installation made me think of her bungalow in rural Pennsylvania. She called it The Teepee and everything inside was blue or purple. When we visited she’d pick dandelions and weeds for “health shakes,” and practice acupuncture on our little feet, while we’d drink \u003ca href=\"http://en.wikipedia.org/wiki/Postum\">Postum\u003c/a> out of blue-speckled mugs.\u003c/p>\n\u003cp>Legendary twentieth-century California folk art environments are documented in the exhibition with trios of neatly mounted photographs that tell the stories of places like \u003ca href=\"http://en.wikipedia.org/wiki/Nitt_Witt_Ridge\">Nitt Witt Ridge\u003c/a> in Cambria and the \u003ca href=\"http://en.wikipedia.org/wiki/Watts_towers\">Watts Towers\u003c/a>in L.A — places where artists with a repurposing knack used hoards of recycled materials to create their kitschy castles.\u003c/p>\n\u003cp>Perhaps the most intriguing folk art environment was Calvin and Ruby Black’s \u003cb>Possum Trot\u003c/b> where the couple made dolls from Sugar Pine and Redwood scraps. Carved by Calvin and dressed in Ruby’s handmade frocks, the female dolls were stand-ins for the children the couple didn’t have. Calvin rigged the dolls with tape recorders and DIY animatronics and put on a roadside show for twenty-five cents admission, hiding backstage playing guitar and singing in lady voices. This \u003ca href=\"http://www.folkstreams.net/film,105\">1977 film\u003c/a> provides the essence of Calvin and Ruby’s endearing, albeit peculiar reality.\u003c/p>\n\u003cp>In regards to my own artist environment, I probably won’t get my security deposit back due to all the nail holes and paint splatters. But blank walls make me uncomfortable, and my hands like to keep busy, so my home is naturally covered in arts and crafts. I imagine that many artists — not just those pegged as folk artists — experience a similar distaste for environmental emptiness and choose to gradually resolve the issue by hand, some more obsessively than others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Inside/Outside: Artist Environments\u003c/b> is on view at the \u003ca href=\"http://www.mocfa.org\">Museum of Craft and Folk Art\u003c/a> through May 24th, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A friend recently compared my apartment to her grade school notebook covered in stickers because my walls are plastered with colorful things I’ve made. The stuff is just stored there, looking at me, constantly nagging me to find it another home. But for some artists, the homes they occupy become works of art themselves, with no suggestion of a need for a removal. The interior might be painted with murals, the stairway made of shells, or the yard covered in handcrafted wooden dolls with tape recorders in their mouths. It is not surprising to discover that more than a handful of homes like these have existed within the borders of our dear California — land of fruits, nuts, and artists.\u003c/p>\n\u003cp>For the Museum of Craft and Folk Art’s \u003cb>Inside/Outside\u003c/b> exhibition of artist environments, Mike Shine was commissioned to create what he calls a 90% true-to-life replica of his home in Bolinas where figures inspired by mythology, philosophy and the devil roam free on painted walls and doors. A fireplace crackles in the cozy, orange, 70s mod-style room, complete with lava lamp, an 8-track tape collection, butterfly chairs, and a wolf-man sitting at the kitchen table, beer in hand. You can get comfy in there. There’s a shelf of books, and Shine invites you to take a load off and create some art in an available sketchbook. I drew an owl. The shack’s exterior also remains true to the original; a surfboard leans against the wall next to a set of barbecue tools. Though the doors don’t open, and the loft ladder leads to nowhere, the remake gives a genuine sense of Shine’s real home — documented on \u003ca href=\"http://www.shinelounge.com\">his Web site\u003c/a> — where his life and art intermingle just the way he likes it. The story of how he met his wife was one of the first things he painted on the walls, in his signature surf-style font. Anyone with a fondness for the 70s aesthetic will love his work. Though my grandmother’s house wasn’t orange, Shine’s installation made me think of her bungalow in rural Pennsylvania. She called it The Teepee and everything inside was blue or purple. When we visited she’d pick dandelions and weeds for “health shakes,” and practice acupuncture on our little feet, while we’d drink \u003ca href=\"http://en.wikipedia.org/wiki/Postum\">Postum\u003c/a> out of blue-speckled mugs.\u003c/p>\n\u003cp>Legendary twentieth-century California folk art environments are documented in the exhibition with trios of neatly mounted photographs that tell the stories of places like \u003ca href=\"http://en.wikipedia.org/wiki/Nitt_Witt_Ridge\">Nitt Witt Ridge\u003c/a> in Cambria and the \u003ca href=\"http://en.wikipedia.org/wiki/Watts_towers\">Watts Towers\u003c/a>in L.A — places where artists with a repurposing knack used hoards of recycled materials to create their kitschy castles.\u003c/p>\n\u003cp>Perhaps the most intriguing folk art environment was Calvin and Ruby Black’s \u003cb>Possum Trot\u003c/b> where the couple made dolls from Sugar Pine and Redwood scraps. Carved by Calvin and dressed in Ruby’s handmade frocks, the female dolls were stand-ins for the children the couple didn’t have. Calvin rigged the dolls with tape recorders and DIY animatronics and put on a roadside show for twenty-five cents admission, hiding backstage playing guitar and singing in lady voices. This \u003ca href=\"http://www.folkstreams.net/film,105\">1977 film\u003c/a> provides the essence of Calvin and Ruby’s endearing, albeit peculiar reality.\u003c/p>\n\u003cp>In regards to my own artist environment, I probably won’t get my security deposit back due to all the nail holes and paint splatters. But blank walls make me uncomfortable, and my hands like to keep busy, so my home is naturally covered in arts and crafts. I imagine that many artists — not just those pegged as folk artists — experience a similar distaste for environmental emptiness and choose to gradually resolve the issue by hand, some more obsessively than others.\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>Inside/Outside: Artist Environments\u003c/b> is on view at the \u003ca href=\"http://www.mocfa.org\">Museum of Craft and Folk Art\u003c/a> through May 24th, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Given the number of altered texts present at \u003cb>Ex Libro\u003c/b>, Lisa Kokin’s current show at the \u003ca href=\"http://www.donnaseagergallery.com\" target=\"offsite\" rel=\"noopener\">Donna Seager Gallery\u003c/a>, one could joke whether it’s a show for text-ophiles or for text-ophobes. \u003cb>Ex Libro\u003c/b> is full of pulped paper and disemboweled, reconstructed books: Dr. Seuss-like hoodoo structures made out of dictionary pages, which in their second life look like larger versions of those little balls of paper that get stuck in the back pocket of your jeans when washed; the covers of pulp Westerns with their images obscured by tangled webs of bookbinder’s thread; and pretty much anything else you could imagine that might be made “from the book,” which is what \u003cb>Ex Libro\u003c/b> means.\u003c/p>\n\u003cp>The show — 2 years in the making — is large, with a lot of physical content that is found on the walls, installed on the gallery floor or hung from the ceiling, and on the back table. The latter category includes “Flotsam and Jetsam,” a book made of two layers of bubble wrap with debris trapped in the bubbles, including rubber bands, shredded money, and a telegram about the death of a loved one. The layers of bubble wrap are held together with a zipper, leaving you with four options: allow the collection to stay in place and enjoy the sounds it makes as you flip the pages, unzip it carefully and see what spills out, pop the dang thing, or do nothing.\u003c/p>\n\u003cp>I spent a lot of time with “Flotsam and Jetsam,” which I found quite moving, only to discover after leaving that it is actually not part of the current body of work, but something from Kokin’s back catalogue.\u003c/p>\n\u003cp>The rest of the show involves a lot of visual punning. A book called “How to Think” has been gutted and reshaped to look like a tangled set of synapses, while another, “The Bride’s Dowry”, has a hole cut on either side of its cover through which a pear-shaped, reassembled ball of text pokes its pregnant belly (or bellies, actually). “Sew Not in Anger” has been sewn shut and stabbed with stitches that will leave home ec teachers groaning and medical practitioners nervous.\u003c/p>\n\u003cp>Not every piece is a one-liner, and the themes can be quite serious — Kokin, a Bay Area artist, often deals with identity, memory, and politics — but at times things feel too tidy. Kokin sticks to a one-to-one ratio, with the physical contents she takes from each book generally staying of a piece, including the titles. I’d love to see her work in a less directly illustrative manner. It feels disingenuous for the end results of deconstruction to be so neatly transformed, although that’s probably because I’m the type of text-ophile that wants things left muddy and ambiguous, a little unclear as to what the signifier might be pointing to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ex Libro\u003c/b> runs until March 31, 2009. Lisa Kokin will be giving an \u003ca href=\"http://www.donnaseagergallery.com/current_exhibition/index.htm\" target=\"offsite\" rel=\"noopener\">artist’s talk\u003c/a> at the gallery on Sunday, March 8, 2009, at 3 pm.\u003c/p>\n\n",
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"excerpt": "Given the number of altered texts present at \u003cb>Ex Libro\u003c/b>, Lisa Kokin's current show at the \u003ca href=\"http://www.donnaseagergallery.com\" target=\"offsite\" rel=\"noopener\">Donna Seager Gallery\u003c/a>, one could joke whether it's a show for text-ophiles or for text-ophobes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the number of altered texts present at \u003cb>Ex Libro\u003c/b>, Lisa Kokin’s current show at the \u003ca href=\"http://www.donnaseagergallery.com\" target=\"offsite\" rel=\"noopener\">Donna Seager Gallery\u003c/a>, one could joke whether it’s a show for text-ophiles or for text-ophobes. \u003cb>Ex Libro\u003c/b> is full of pulped paper and disemboweled, reconstructed books: Dr. Seuss-like hoodoo structures made out of dictionary pages, which in their second life look like larger versions of those little balls of paper that get stuck in the back pocket of your jeans when washed; the covers of pulp Westerns with their images obscured by tangled webs of bookbinder’s thread; and pretty much anything else you could imagine that might be made “from the book,” which is what \u003cb>Ex Libro\u003c/b> means.\u003c/p>\n\u003cp>The show — 2 years in the making — is large, with a lot of physical content that is found on the walls, installed on the gallery floor or hung from the ceiling, and on the back table. The latter category includes “Flotsam and Jetsam,” a book made of two layers of bubble wrap with debris trapped in the bubbles, including rubber bands, shredded money, and a telegram about the death of a loved one. The layers of bubble wrap are held together with a zipper, leaving you with four options: allow the collection to stay in place and enjoy the sounds it makes as you flip the pages, unzip it carefully and see what spills out, pop the dang thing, or do nothing.\u003c/p>\n\u003cp>I spent a lot of time with “Flotsam and Jetsam,” which I found quite moving, only to discover after leaving that it is actually not part of the current body of work, but something from Kokin’s back catalogue.\u003c/p>\n\u003cp>The rest of the show involves a lot of visual punning. A book called “How to Think” has been gutted and reshaped to look like a tangled set of synapses, while another, “The Bride’s Dowry”, has a hole cut on either side of its cover through which a pear-shaped, reassembled ball of text pokes its pregnant belly (or bellies, actually). “Sew Not in Anger” has been sewn shut and stabbed with stitches that will leave home ec teachers groaning and medical practitioners nervous.\u003c/p>\n\u003cp>Not every piece is a one-liner, and the themes can be quite serious — Kokin, a Bay Area artist, often deals with identity, memory, and politics — but at times things feel too tidy. Kokin sticks to a one-to-one ratio, with the physical contents she takes from each book generally staying of a piece, including the titles. I’d love to see her work in a less directly illustrative manner. It feels disingenuous for the end results of deconstruction to be so neatly transformed, although that’s probably because I’m the type of text-ophile that wants things left muddy and ambiguous, a little unclear as to what the signifier might be pointing to.\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>Ex Libro\u003c/b> runs until March 31, 2009. Lisa Kokin will be giving an \u003ca href=\"http://www.donnaseagergallery.com/current_exhibition/index.htm\" target=\"offsite\" rel=\"noopener\">artist’s talk\u003c/a> at the gallery on Sunday, March 8, 2009, at 3 pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul McCarthy's Low Life Slow Life, Part 2",
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"content": "\u003cp>I don’t know if the adjectives “loud” and “visually spare” usually come to mind when you think of Paul McCarthy, but after seeing \u003ca>\u003cb>Low Life Slow Life: Part 2\u003c/b>\u003c/a> at the Wattis this month, I’m stuck with them. The exhibit is not of McCarthy’s works, but rather of works chosen by McCarthy in relation to his “memories of his own career.” \u003cb>Part 1\u003c/b>, which showed last year at the Wattis, focused on work from his undergraduate and graduate days, while \u003cb>Part 2\u003c/b>, which is on view until May 30, 2008, showcases works from the 1970s through the present.\u003c/p>\n\u003cp>It’s a small show, both in terms of the number of pieces (about 12) and the number of artists (about 7). And thank god for small favors, because it’s not an easy show. By this I mean that while many pieces involve humor, most require something from you other than pleasure in reception, which can make the overall experience challenging, not to mention demanding and even disagreeable.\u003c/p>\n\u003cp>I find it interesting that the show literature refuses to assign the phrase “influences” to McCarthy’s selections; rather, the brochure stresses that McCarthy’s choices are based on personal “recollections.” I think this might be Artspeak for “Warning: this exhibit contains neither explanatory text nor an explicit, chronological flowchart of how the works included relate to McCarthy’s bigger project.” The guest is left to the mercy of the pieces, which is fine by me, although I have to say that most of the pieces do get more interesting after a little additional research. I highly recommend everyone look into Howard Fried’s filming techniques for \u003cb>Sea Sell\u003c/b>.\u003c/p>\n\u003cp>For me, the sweet spot of the exhibit happens directly after entering the first gallery, as your attention bounces between a giant, worried-looking \u003ca href=\"http://www.hauserwirth.com/exhibitions/25/maria-lassnig/view/\">Maria Lassnig\u003c/a> self-portrait (“Doubts,” 2004) that uses chartreuse in its color palette; a series of large, altered photographs of Disneyland, focusing on social spectacle and the Matterhorn; and a video piece by Guy Debord (\u003cb>We Spin Around the Night and Are Consumed by Fire\u003c/b>, 1978) that juxtaposes images of commodities, consumption, politics and affluence with Debord’s \u003ca>narration\u003c/a>. Body, spectacle, performance, excess and mess: everything I know or need to know about McCarthy’s aesthetic and interests is present in this corner, and I like the juxtaposed delivery style.\u003c/p>\n\u003cp>Wedded to this is Howard Fried’s video, \u003cb>Sea Sell Sea Sick at Saw Sea Soar, Sea\u003c/b> (1971), the soundtrack of which dominates the first gallery — \u003ci>“You don’t want tomato juice, you don’t want chicken salad…”\u003c/i> — only to be replaced by the soundtrack to Dennis Oppenheim’s \u003cb>Wishing Well\u003c/b> (1973/2009) in the second. \u003ci>“Sink back. Sink. Sink back down.”\u003c/i>. I found the second gallery less interesting, although it might have been because the piece that takes up the most physical space (Fried’s \u003cb>All My Dirty Blue Clothes\u003c/b>) is a performance shell: debris no longer activated by a human body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy’s scrapbooking is at its best when the viewer can move with it in time and understand how the pieces activate each other, instead of looking at object-like remains of actions that have already happened. For the same reason, I would say that even if you decide to skip the exhibit, you should definitely look into the \u003ca href=\"http://www.wattis.org/calendar/\">film screenings\u003c/a> that McCarthy has selected. For the next two months, there will be showings of works by the likes of Michael Snow, Valie Export, Bruce Nauman and Kurt Kren, amongst others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul McCarthy’s \u003cb>Low Life Slow Life, Part 2\u003c/b> is at CCA’s Wattis Institute through May 30, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if the adjectives “loud” and “visually spare” usually come to mind when you think of Paul McCarthy, but after seeing \u003ca>\u003cb>Low Life Slow Life: Part 2\u003c/b>\u003c/a> at the Wattis this month, I’m stuck with them. The exhibit is not of McCarthy’s works, but rather of works chosen by McCarthy in relation to his “memories of his own career.” \u003cb>Part 1\u003c/b>, which showed last year at the Wattis, focused on work from his undergraduate and graduate days, while \u003cb>Part 2\u003c/b>, which is on view until May 30, 2008, showcases works from the 1970s through the present.\u003c/p>\n\u003cp>It’s a small show, both in terms of the number of pieces (about 12) and the number of artists (about 7). And thank god for small favors, because it’s not an easy show. By this I mean that while many pieces involve humor, most require something from you other than pleasure in reception, which can make the overall experience challenging, not to mention demanding and even disagreeable.\u003c/p>\n\u003cp>I find it interesting that the show literature refuses to assign the phrase “influences” to McCarthy’s selections; rather, the brochure stresses that McCarthy’s choices are based on personal “recollections.” I think this might be Artspeak for “Warning: this exhibit contains neither explanatory text nor an explicit, chronological flowchart of how the works included relate to McCarthy’s bigger project.” The guest is left to the mercy of the pieces, which is fine by me, although I have to say that most of the pieces do get more interesting after a little additional research. I highly recommend everyone look into Howard Fried’s filming techniques for \u003cb>Sea Sell\u003c/b>.\u003c/p>\n\u003cp>For me, the sweet spot of the exhibit happens directly after entering the first gallery, as your attention bounces between a giant, worried-looking \u003ca href=\"http://www.hauserwirth.com/exhibitions/25/maria-lassnig/view/\">Maria Lassnig\u003c/a> self-portrait (“Doubts,” 2004) that uses chartreuse in its color palette; a series of large, altered photographs of Disneyland, focusing on social spectacle and the Matterhorn; and a video piece by Guy Debord (\u003cb>We Spin Around the Night and Are Consumed by Fire\u003c/b>, 1978) that juxtaposes images of commodities, consumption, politics and affluence with Debord’s \u003ca>narration\u003c/a>. Body, spectacle, performance, excess and mess: everything I know or need to know about McCarthy’s aesthetic and interests is present in this corner, and I like the juxtaposed delivery style.\u003c/p>\n\u003cp>Wedded to this is Howard Fried’s video, \u003cb>Sea Sell Sea Sick at Saw Sea Soar, Sea\u003c/b> (1971), the soundtrack of which dominates the first gallery — \u003ci>“You don’t want tomato juice, you don’t want chicken salad…”\u003c/i> — only to be replaced by the soundtrack to Dennis Oppenheim’s \u003cb>Wishing Well\u003c/b> (1973/2009) in the second. \u003ci>“Sink back. Sink. Sink back down.”\u003c/i>. I found the second gallery less interesting, although it might have been because the piece that takes up the most physical space (Fried’s \u003cb>All My Dirty Blue Clothes\u003c/b>) is a performance shell: debris no longer activated by a human body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy’s scrapbooking is at its best when the viewer can move with it in time and understand how the pieces activate each other, instead of looking at object-like remains of actions that have already happened. For the same reason, I would say that even if you decide to skip the exhibit, you should definitely look into the \u003ca href=\"http://www.wattis.org/calendar/\">film screenings\u003c/a> that McCarthy has selected. For the next two months, there will be showings of works by the likes of Michael Snow, Valie Export, Bruce Nauman and Kurt Kren, amongst others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul McCarthy’s \u003cb>Low Life Slow Life, Part 2\u003c/b> is at CCA’s Wattis Institute through May 30, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In February 2009 \u003ci>Gallery Crawl\u003c/i> interviewed Bill Fontana about his sound installation \u003cem>SPIRALING ECHOES\u003c/em> at SF City Hall. A few blocks away, local art collector Robert Shimshak explained his interest in musical scores and how his collection inspired a new exhbition, \u003cem>EVERY SOUND YOU CAN IMAGINE\u003c/em> at New Langton Arts.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/sound-edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I thought I was too old for bedtime stories. For enchanted forests and little boys who tell tales no one believes. But then I heard such a story, last month, in a quiet San Francisco art gallery, in a white walled room covered with paintings of gnarled wood and golden fountains. I was rapt, waiting to hear how it would turn out. The story ended in the very gallery where I sat, in a room full of people, as artist Neil LeDoux explained the genesis of the work hanging in the exhibit titled \u003cb>The Fountain of Giant Teardrops\u003c/b>, on display through February 28th at the Silverman Gallery.\u003c/p>\n\u003cp>LeDoux was telling Berkeley Art Museum director Larry Rinder the story of the day when, as a child, he discovered a mystical fountain deep in the Louisiana woods. He ran home and told his family, but no one believed him. He brought people back to the spot, but all they saw were trees. LeDoux, an undergraduate student at California College of the Arts, didn’t talk about the fountain again for years. And he certainly didn’t make drawings about it. Until now. “If not at an art college in San Francisco, where else would you address it?” he asked. “In San Francisco, you can tell someone a story like this and they don’t think you’re crazy.” The room full of people, all listening intently, seemed to prove his point.\u003c/p>\n\u003cp>LeDoux and Rinder’s conversation covered the artist’s influences (Duchamp’s \u003cb>Fountain\u003c/b> was a major one); working process (he produced this body of work in a consumed frenzy, putting in 15 to 18 hour days over a period of two weeks); and the fountains’ hermaphroditic qualities (“It’s a phallus made of vaginas,” Rinder observed). What they didn’t cover was why LeDoux’s story is engrossing, and why the art it inspired deserves attention. No longer lulled by fairytale stories of boys chasing trees, but awake and alert, I want to address those things here.\u003c/p>\n\u003cp>Most would agree that art relies on a larger narrative, a conceptual back-story, for its meaning and import. Even when not intentionally symbolic, a painting is always more than paint on a canvas. It is a signifier of ideas, cultural values, and often, the artist’s own biography. I think much of the general public’s frustration toward contemporary art comes from an awareness of this meaning’s existence coupled with an inability to decipher it.\u003c/p>\n\u003cp>Enter LeDoux. Rarely do artists offer such a neatly packaged, easily communicated story as he. Rather than vague allusions, LeDoux presents a cohesive narrative that satisfies our desire to “understand” his art. The story itself is a good one. Against the backdrop of the lush and mysterious woods of the American south, the artist acts as both visionary and outsider. The tale is particularly pleasing to San Francisco ears, as LeDoux’s westward migration and subsequent self-actualization satisfy our collective superiority complex: Of course the artist had to come to northern California to realize the validity of his childhood visions and learn to express his artistic truth. Doesn’t everybody?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although intriguing, the actual artwork felt secondary to all this. Rendered in a limited palette of gold, paper-bag brown, and black, LeDoux’s fountains are human-sized. They are filled with repeated cascading forms that mimic the waterfall of his memory. They simultaneously cave in and protrude; appear solid and fluid; illuminated and flat. You try to grasp at them, but ultimately fail. In that way, they mimic memory itself — we can recapture the past only up to a point. After that, it all slips through our fingers.\u003c/p>\n\u003cp>This elusive quality fits well into LeDoux’s story, which, as should be obvious by now, felt like the focal point of the exhibit. I still can’t decide if I found it enthralling or disingenuous; perhaps a little of both. (The \u003ci>San Francisco Chronicle\u003c/i>‘s Kenneth Baker even suggested that LeDoux had created an \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/02/07/DDO515OA5H.DTL\" target=\"offsite\" rel=\"noopener\">“autobiographical myth”\u003c/a> to link disparate works.) But the thing is, I like stories. Maybe it doesn’t matter what purpose they’re put toward. So go ahead, spin me a yarn. Tell me tales of lost little boys nobody believes and fountains in the forest. You can call it art, I don’t mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Fountain of Giant Teardrops\u003c/b> runs through February 28, 2009 at the \u003ca href=\"http://www.silverman-gallery.com/index4.html\" target=\"offsite\" rel=\"noopener\">Silverman Gallery\u003c/a>, 804 Sutter Street, San Francisco. For more information, call 415-255-9508.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I thought I was too old for bedtime stories. For enchanted forests and little boys who tell tales no one believes. But then I heard such a story, last month, in a quiet San Francisco art gallery, in a white walled room covered with paintings of gnarled wood and golden fountains. I was rapt, waiting to hear how it would turn out. The story ended in the very gallery where I sat, in a room full of people, as artist Neil LeDoux explained the genesis of the work hanging in the exhibit titled \u003cb>The Fountain of Giant Teardrops\u003c/b>, on display through February 28th at the Silverman Gallery.\u003c/p>\n\u003cp>LeDoux was telling Berkeley Art Museum director Larry Rinder the story of the day when, as a child, he discovered a mystical fountain deep in the Louisiana woods. He ran home and told his family, but no one believed him. He brought people back to the spot, but all they saw were trees. LeDoux, an undergraduate student at California College of the Arts, didn’t talk about the fountain again for years. And he certainly didn’t make drawings about it. Until now. “If not at an art college in San Francisco, where else would you address it?” he asked. “In San Francisco, you can tell someone a story like this and they don’t think you’re crazy.” The room full of people, all listening intently, seemed to prove his point.\u003c/p>\n\u003cp>LeDoux and Rinder’s conversation covered the artist’s influences (Duchamp’s \u003cb>Fountain\u003c/b> was a major one); working process (he produced this body of work in a consumed frenzy, putting in 15 to 18 hour days over a period of two weeks); and the fountains’ hermaphroditic qualities (“It’s a phallus made of vaginas,” Rinder observed). What they didn’t cover was why LeDoux’s story is engrossing, and why the art it inspired deserves attention. No longer lulled by fairytale stories of boys chasing trees, but awake and alert, I want to address those things here.\u003c/p>\n\u003cp>Most would agree that art relies on a larger narrative, a conceptual back-story, for its meaning and import. Even when not intentionally symbolic, a painting is always more than paint on a canvas. It is a signifier of ideas, cultural values, and often, the artist’s own biography. I think much of the general public’s frustration toward contemporary art comes from an awareness of this meaning’s existence coupled with an inability to decipher it.\u003c/p>\n\u003cp>Enter LeDoux. Rarely do artists offer such a neatly packaged, easily communicated story as he. Rather than vague allusions, LeDoux presents a cohesive narrative that satisfies our desire to “understand” his art. The story itself is a good one. Against the backdrop of the lush and mysterious woods of the American south, the artist acts as both visionary and outsider. The tale is particularly pleasing to San Francisco ears, as LeDoux’s westward migration and subsequent self-actualization satisfy our collective superiority complex: Of course the artist had to come to northern California to realize the validity of his childhood visions and learn to express his artistic truth. Doesn’t everybody?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although intriguing, the actual artwork felt secondary to all this. Rendered in a limited palette of gold, paper-bag brown, and black, LeDoux’s fountains are human-sized. They are filled with repeated cascading forms that mimic the waterfall of his memory. They simultaneously cave in and protrude; appear solid and fluid; illuminated and flat. You try to grasp at them, but ultimately fail. In that way, they mimic memory itself — we can recapture the past only up to a point. After that, it all slips through our fingers.\u003c/p>\n\u003cp>This elusive quality fits well into LeDoux’s story, which, as should be obvious by now, felt like the focal point of the exhibit. I still can’t decide if I found it enthralling or disingenuous; perhaps a little of both. (The \u003ci>San Francisco Chronicle\u003c/i>‘s Kenneth Baker even suggested that LeDoux had created an \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/02/07/DDO515OA5H.DTL\" target=\"offsite\" rel=\"noopener\">“autobiographical myth”\u003c/a> to link disparate works.) But the thing is, I like stories. Maybe it doesn’t matter what purpose they’re put toward. So go ahead, spin me a yarn. Tell me tales of lost little boys nobody believes and fountains in the forest. You can call it art, I don’t mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Fountain of Giant Teardrops\u003c/b> runs through February 28, 2009 at the \u003ca href=\"http://www.silverman-gallery.com/index4.html\" target=\"offsite\" rel=\"noopener\">Silverman Gallery\u003c/a>, 804 Sutter Street, San Francisco. For more information, call 415-255-9508.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the financial press, it is customary for reporters to disclose their holdings in a stock before writing or talking about it. And so, I must preface this review of \u003cb>The Prints of Andy Warhol\u003c/b>, now through May 31 at the San Jose Museum of Art, by revealing my stake in four pieces by the pop master. They were purchased a couple of years ago from Barney’s during a holiday-season sales promotion. The pieces are actual cans of Campbell’s tomato soup, which the soup maker, in cooperation with the Andy Warhol Foundation, produced in a “limited edition.” The labels of these special cans have been re-imagined in four of Warhol’s most famous color combinations: green and red, gold and yellow, pink and orange, aqua and indigo. Each can is “signed,” posthumously, by the artist. I ordered one of each online at $12 a can, but by the time they arrived and I realized what fun gifts they would make, the edition had sold out.\u003c/p>\n\u003cp>I mention my foray into the rarified world of big-time art collecting because I have a strong feeling that Warhol would have liked these signed soup cans and their distribution via a clothing retailer every bit as much as the flood of exhibitions of his work in traditional art outlets. In addition to the show in San Jose, a collection of pop-music pieces just opened at the de Young and another devoted to portraits of Jews just closed at the Jewish Museum. As objects of value, the cans will never be worth as much as any of the more than 60 screen prints and lithographs on view at the San Jose Museum of Art (a recent check on eBay showed two cans languishing with no bids, even though the starting price was half of what I paid for just one). But as objects that speak to Warhol’s interest in creating artworks that at once mirror and are examples of popular culture, the soup cans at Barney’s were right on the money, although it’s easy to imagine Warhol preferring WalMart.\u003c/p>\n\u003cp>Dutifully, the exhibition makes a case for Warhol’s technical virtuosity with screen prints and lithos, but you don’t go to a Warhol exhibition for a clinic on print making, or at least I don’t. It’s his choice of subject that matters, as well as what he does to the images of his affection. His \u003cb>Flowers\u003c/b> from 1964, for example, are the opposite of sexualized and romantic flowers of the popular imagination. Instead of beautiful and voluptuous, Warhol’s flowers are plain and ordinary; two of the prints in the San Jose show are rendered in plain black and white. They are, literally, wallflowers. Conversely, Warhol’s dollars signs from 1982 are the opposite of mere symbols used to describe sums attached to commerce and trade. They are fun, happy and colorful, practically jumping and vibrating within the confines of their frames.\u003c/p>\n\u003cp>Warhol’s dollar signs are also a terrific commentary on the art market of which Warhol was such an important, complicit and knowing player. The first time I saw these pieces was in 1982 when they debuted at the Castelli Gallery in Soho. On that January day, I had been traipsing in and out of gallery after gallery, each of which was hurling its best and priciest art products at an art-going public that was positively giddy for the art boom exploding all around them. By 1982, Warhol was considered old school, a circumstance he would soon remedy by taking up with rising art star Jean-Michel Basquiat. But here he was at venerable Castelli, riffing on the fizz of the overheated scene with paintings and prints of all sizes and colors to give the people exactly what they seemed to want: symbols of wealth to decorate their walls.\u003c/p>\n\u003cp>Some of the pieces in the San Jose show, like the three prints from the \u003cb>Hammer and Sickle\u003c/b> series from 1977, remind us of Warhol’s roots as a draftsman. Others celebrate his skills as a colorist. The six portraits of Marilyn Monroe, each more gloriously garish than the next, take our experience and expectation of the star’s beauty past the point of no return, and a good deal beyond. And then there were print series that you had to assume the artist and his assistants were simply cranking out to pay the bills. His \u003cb>Ads\u003c/b> from 1985 and \u003cb>Details of Renaissance Paintings\u003c/b> from 1984 come to mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But not all of Warhol’s late work (he died in 1987) was without virtue. Indeed, his series of \u003cb>Camouflage\u003c/b> prints from that same year distilled many of the artist’s interests in shape and color and line to their almost-abstract essence. The San Jose show gives us eight examples from this series to ponder. My guess is that these last Warhols, which are not dependent on one’s knowledge of or affection for mid 20th-century celebrities, are probably more inspirational to younger viewers than endless screen prints of black bean, consommé and green pea soup. The generic, almost computer-generated appearance of the \u003cb>Camouflage\u003c/b> prints are all surface with, ironically, nothing to hide, except maybe the fact that some people in the art world wouldn’t give them a second look if they weren’t identified as Warhols.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Prints of Andy Warhol\u003c/b> runs through May 31, 2009 at the San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the financial press, it is customary for reporters to disclose their holdings in a stock before writing or talking about it. And so, I must preface this review of \u003cb>The Prints of Andy Warhol\u003c/b>, now through May 31 at the San Jose Museum of Art, by revealing my stake in four pieces by the pop master. They were purchased a couple of years ago from Barney’s during a holiday-season sales promotion. The pieces are actual cans of Campbell’s tomato soup, which the soup maker, in cooperation with the Andy Warhol Foundation, produced in a “limited edition.” The labels of these special cans have been re-imagined in four of Warhol’s most famous color combinations: green and red, gold and yellow, pink and orange, aqua and indigo. Each can is “signed,” posthumously, by the artist. I ordered one of each online at $12 a can, but by the time they arrived and I realized what fun gifts they would make, the edition had sold out.\u003c/p>\n\u003cp>I mention my foray into the rarified world of big-time art collecting because I have a strong feeling that Warhol would have liked these signed soup cans and their distribution via a clothing retailer every bit as much as the flood of exhibitions of his work in traditional art outlets. In addition to the show in San Jose, a collection of pop-music pieces just opened at the de Young and another devoted to portraits of Jews just closed at the Jewish Museum. As objects of value, the cans will never be worth as much as any of the more than 60 screen prints and lithographs on view at the San Jose Museum of Art (a recent check on eBay showed two cans languishing with no bids, even though the starting price was half of what I paid for just one). But as objects that speak to Warhol’s interest in creating artworks that at once mirror and are examples of popular culture, the soup cans at Barney’s were right on the money, although it’s easy to imagine Warhol preferring WalMart.\u003c/p>\n\u003cp>Dutifully, the exhibition makes a case for Warhol’s technical virtuosity with screen prints and lithos, but you don’t go to a Warhol exhibition for a clinic on print making, or at least I don’t. It’s his choice of subject that matters, as well as what he does to the images of his affection. His \u003cb>Flowers\u003c/b> from 1964, for example, are the opposite of sexualized and romantic flowers of the popular imagination. Instead of beautiful and voluptuous, Warhol’s flowers are plain and ordinary; two of the prints in the San Jose show are rendered in plain black and white. They are, literally, wallflowers. Conversely, Warhol’s dollars signs from 1982 are the opposite of mere symbols used to describe sums attached to commerce and trade. They are fun, happy and colorful, practically jumping and vibrating within the confines of their frames.\u003c/p>\n\u003cp>Warhol’s dollar signs are also a terrific commentary on the art market of which Warhol was such an important, complicit and knowing player. The first time I saw these pieces was in 1982 when they debuted at the Castelli Gallery in Soho. On that January day, I had been traipsing in and out of gallery after gallery, each of which was hurling its best and priciest art products at an art-going public that was positively giddy for the art boom exploding all around them. By 1982, Warhol was considered old school, a circumstance he would soon remedy by taking up with rising art star Jean-Michel Basquiat. But here he was at venerable Castelli, riffing on the fizz of the overheated scene with paintings and prints of all sizes and colors to give the people exactly what they seemed to want: symbols of wealth to decorate their walls.\u003c/p>\n\u003cp>Some of the pieces in the San Jose show, like the three prints from the \u003cb>Hammer and Sickle\u003c/b> series from 1977, remind us of Warhol’s roots as a draftsman. Others celebrate his skills as a colorist. The six portraits of Marilyn Monroe, each more gloriously garish than the next, take our experience and expectation of the star’s beauty past the point of no return, and a good deal beyond. And then there were print series that you had to assume the artist and his assistants were simply cranking out to pay the bills. His \u003cb>Ads\u003c/b> from 1985 and \u003cb>Details of Renaissance Paintings\u003c/b> from 1984 come to mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not all of Warhol’s late work (he died in 1987) was without virtue. Indeed, his series of \u003cb>Camouflage\u003c/b> prints from that same year distilled many of the artist’s interests in shape and color and line to their almost-abstract essence. The San Jose show gives us eight examples from this series to ponder. My guess is that these last Warhols, which are not dependent on one’s knowledge of or affection for mid 20th-century celebrities, are probably more inspirational to younger viewers than endless screen prints of black bean, consommé and green pea soup. The generic, almost computer-generated appearance of the \u003cb>Camouflage\u003c/b> prints are all surface with, ironically, nothing to hide, except maybe the fact that some people in the art world wouldn’t give them a second look if they weren’t identified as Warhols.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Prints of Andy Warhol\u003c/b> runs through May 31, 2009 at the San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I missed a show of Matt Furie’s color drawings last year, I bought one of his ‘zines to try and make up for it. His images looks like \u003cb>Sesame Street\u003c/b> characters gone awry, a favorite being a blue Grover-type character with multi-colored intestines pouring out of his split gut like a rainbow. The ‘zine is black and white except for the cover and features four stereotypical boy characters — Andy, Brett, Landwolf, and Pepe. They have boy bodies and animal heads, and they watch TV, eat chips, drink booze, fart, puke, and do other boy stuff. They also appear to be stuck in the 1990s, which is not only funny but offers a kind of cultural commentary. This ‘zine, \u003ci>Boy’s Club 2\u003c/i>, made me want to see Furie’s color works even more so I headed to Double Punch to see a group show called \u003cb>Strange Ways\u003c/b> in which he was included. Turns out Furie was showing original drawings from the \u003ci>Boy’s Club\u003c/i> comics along with some framed drawings of dragons on notebook paper. “Dude,” I thought to myself, “these look like a fifteen-year-old boy’s drawings.” In fact, the dragon series was listed collectively as \u003cb>54 Untitled Drawings from 1994-1996\u003c/b> when Furie \u003ci>was\u003c/i> ages 15 – 17. The dragons are presumably his early work, so why not frame and view them critically, reveling in the dragons’ musculature and the artist’s block-lettered signature just as you would with Picasso’s works from the late 1890s? Furie was obviously some kind of prodigy, too. The Boy’s Club drawings, also framed on 3-hole-punched paper, offered more insight into Furie’s views on gender, culture, and friendship. Especially sweet was a drawing of two characters hugging that said, “A hug is the shortest distance between friends. Hug Department: Always Open.” Boys are so weird.\u003c/p>\n\u003cp>Maxwell Holyoke-Hirsch (or Maxwell Loren Holyoke-Hirsch if you use his full name) was also featured in \u003cb>Strange Ways\u003c/b>. His paintings were simple, graphic and inviting. His drawings reminded me both of Alexander Calder’s wire sculptures and \u003ci>New Yorker\u003c/i> illustrations. Deserving of a long stare, Hirsch’s drawings appeared to be made with some humble pens, like the shimmery ballpoint ones you get at Office Depot.\u003c/p>\n\u003cp>Mark Todd, who collaborates with his partner Esther Pearl Watson on a series of ‘zines called \u003ci>Unlovable\u003c/i>, was listed on the show’s postcard, but, unless I’m completely oblivious, his work wasn’t in the show. Matthew Lock’s drawings and paintings rounded out the exhibition and also recalled the style of a teenage boy. His two largest works, \u003cb>Pollution Capitals 1 & 2\u003c/b>, illustrated a post-apocalyptic tale about “purple enforcers mindlessly maintaining a system of control,” according to the painted text. Though I wasn’t initially drawn to these pieces, due to the aforementioned style, a closer look brought an appreciation of details like a nicely rendered industrial cityscape in the background of \u003cb>Pollution Capital 2\u003c/b>, and a clock labeled “out of order,” indicating a land that time had forgotten. In a series of drawings on colored paper, Lock had drawn what looked to be a loose brain map of a stoner.\u003c/p>\n\u003cp>Though I suffered two disappointments at this show (no Furie color works and no Mark Todd drawings), I enjoyed it nonetheless. And a visit to Double Punch is always satisfying. In addition to the gallery, there’s a toy store and, currently, a mural in the window by one of my all-time favorite Portland artists and Double Punch regular, Bwana Spoons, who also has some prints and ‘zines in the store. \u003cb>Strange Ways\u003c/b> was the perfect gender-specific juxtaposition to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=20181\" target=\"offsite\" rel=\"noopener\">Sweet Sunny Temper\u003c/a>, a 2007 all-female Double Punch exhibit I wrote about that was riddled with girly pink overtones. Viewed next to each other, \u003cb>Strange Ways\u003c/b> and \u003cb>Sweet Sunny Temper\u003c/b> would serve as evidence that boys are indeed concerned with things like snakes, snails and puppy dog tails, while girls are sugary and sweet. Or so they say in kindergarten.\u003c/p>\n\u003cp>\u003cb>Strange Ways\u003c/b> runs through March 8th, 2009 at \u003ca href=\"http://www.doublepunch.com\" target=\"offsite\" rel=\"noopener\">Double Punch\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I missed a show of Matt Furie’s color drawings last year, I bought one of his ‘zines to try and make up for it. His images looks like \u003cb>Sesame Street\u003c/b> characters gone awry, a favorite being a blue Grover-type character with multi-colored intestines pouring out of his split gut like a rainbow. The ‘zine is black and white except for the cover and features four stereotypical boy characters — Andy, Brett, Landwolf, and Pepe. They have boy bodies and animal heads, and they watch TV, eat chips, drink booze, fart, puke, and do other boy stuff. They also appear to be stuck in the 1990s, which is not only funny but offers a kind of cultural commentary. This ‘zine, \u003ci>Boy’s Club 2\u003c/i>, made me want to see Furie’s color works even more so I headed to Double Punch to see a group show called \u003cb>Strange Ways\u003c/b> in which he was included. Turns out Furie was showing original drawings from the \u003ci>Boy’s Club\u003c/i> comics along with some framed drawings of dragons on notebook paper. “Dude,” I thought to myself, “these look like a fifteen-year-old boy’s drawings.” In fact, the dragon series was listed collectively as \u003cb>54 Untitled Drawings from 1994-1996\u003c/b> when Furie \u003ci>was\u003c/i> ages 15 – 17. The dragons are presumably his early work, so why not frame and view them critically, reveling in the dragons’ musculature and the artist’s block-lettered signature just as you would with Picasso’s works from the late 1890s? Furie was obviously some kind of prodigy, too. The Boy’s Club drawings, also framed on 3-hole-punched paper, offered more insight into Furie’s views on gender, culture, and friendship. Especially sweet was a drawing of two characters hugging that said, “A hug is the shortest distance between friends. Hug Department: Always Open.” Boys are so weird.\u003c/p>\n\u003cp>Maxwell Holyoke-Hirsch (or Maxwell Loren Holyoke-Hirsch if you use his full name) was also featured in \u003cb>Strange Ways\u003c/b>. His paintings were simple, graphic and inviting. His drawings reminded me both of Alexander Calder’s wire sculptures and \u003ci>New Yorker\u003c/i> illustrations. Deserving of a long stare, Hirsch’s drawings appeared to be made with some humble pens, like the shimmery ballpoint ones you get at Office Depot.\u003c/p>\n\u003cp>Mark Todd, who collaborates with his partner Esther Pearl Watson on a series of ‘zines called \u003ci>Unlovable\u003c/i>, was listed on the show’s postcard, but, unless I’m completely oblivious, his work wasn’t in the show. Matthew Lock’s drawings and paintings rounded out the exhibition and also recalled the style of a teenage boy. His two largest works, \u003cb>Pollution Capitals 1 & 2\u003c/b>, illustrated a post-apocalyptic tale about “purple enforcers mindlessly maintaining a system of control,” according to the painted text. Though I wasn’t initially drawn to these pieces, due to the aforementioned style, a closer look brought an appreciation of details like a nicely rendered industrial cityscape in the background of \u003cb>Pollution Capital 2\u003c/b>, and a clock labeled “out of order,” indicating a land that time had forgotten. In a series of drawings on colored paper, Lock had drawn what looked to be a loose brain map of a stoner.\u003c/p>\n\u003cp>Though I suffered two disappointments at this show (no Furie color works and no Mark Todd drawings), I enjoyed it nonetheless. And a visit to Double Punch is always satisfying. In addition to the gallery, there’s a toy store and, currently, a mural in the window by one of my all-time favorite Portland artists and Double Punch regular, Bwana Spoons, who also has some prints and ‘zines in the store. \u003cb>Strange Ways\u003c/b> was the perfect gender-specific juxtaposition to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=20181\" target=\"offsite\" rel=\"noopener\">Sweet Sunny Temper\u003c/a>, a 2007 all-female Double Punch exhibit I wrote about that was riddled with girly pink overtones. Viewed next to each other, \u003cb>Strange Ways\u003c/b> and \u003cb>Sweet Sunny Temper\u003c/b> would serve as evidence that boys are indeed concerned with things like snakes, snails and puppy dog tails, while girls are sugary and sweet. Or so they say in kindergarten.\u003c/p>\n\u003cp>\u003cb>Strange Ways\u003c/b> runs through March 8th, 2009 at \u003ca href=\"http://www.doublepunch.com\" target=\"offsite\" rel=\"noopener\">Double Punch\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Ongoing Conversation: The Art of Living Black",
"headTitle": "An Ongoing Conversation: The Art of Living Black | KQED",
"content": "\u003cp>It’s the 21st century and a black president (well, bi-racial) sits in the Oval Office. Obama was sworn in the day after MLK Day; Aretha Franklin (and her hat) sang the national anthem; Dr. Joseph Lowery quoted “Black, Brown, and White” in his benediction. Obama’s first full month in office is Black History Month. Suddenly, identity markers that have worn thin over three or four decades of identity politics start taking on a new and complex meaning. No, race isn’t over; this is where it starts to get interesting.\u003c/p>\n\u003cp>If the world feels unprepared to understand what it means to be black in America in the new millennium, it’s not because nobody’s been talking about it. Take \u003cb>The Art of Living Black\u003c/b>. This annual non-juried exhibition is in its 13th year at the Richmond Art Center (RAC), and it feels like a conversation that has mellowed with repetition; but one that continues because it’s far from over. The show welcomes all comers — artists of African descent, that is — so I expected it to be something of a free-for-all, visually and thematically. Instead, I saw a display of work by artists in disciplined dialogue with each other and their world; a show unified by common inquiry rather than curatorial vision.\u003c/p>\n\u003cp>An RAC staffer confirmed that many of the over 70 participating artists showed there year after year, responding to each other’s work. This is a kind of artists’ community that many mainstream artists don’t connect with; a community of color, rather than form, pursuing a social question rather than solely an aesthetic one. And this is a profoundly important resource at a moment in history when the rules are changing.\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> favors a narrative mode of painting and sculpture over conceptualism. The works speak directly to the viewer: none of them need an explanatory text. I saw a lot of faces — more than anything I saw faces — pulled partway into abstraction, geometrically fragmented, blurred, broken down into primary and secondary colors; a gallery full of distorted and dissected African faces. I saw almost no straightforward portraiture and almost no bodies in motion, the two modes — I was powerfully reminded — in which African Americans are usually depicted in the media.\u003c/p>\n\u003cp>Virginia Jourdan captured in “Lyn” — a bust of a woman smiling in triumph on top of the massive volume of War and Peace — my exact feeling of accomplishment after reading that doorstop. Latisha Baker burnt a delicate line drawing of a woman into wood (the technique is deliciously named “pyrography”). Makeda Rashid’s “Lavender Thoughts” hints at further layers of complexity in the African American community, showing a young man examining his dreadlocks, while menaced or enticed by a lavender cloud above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The modernist toolkit is very much in use here. Aside from more cubism than you can shake a stick at, I saw constructivist, impressionist, and even fauvist breakdowns of faces, figures, and scenes. Hilda Robinson’s glowing pastel “Sista’s” recalls Degas and Toulouse-Lautrec in its snapshot of two women in their club gear. Jason Austin’s drawing “Soul” nods to both pop culture graphics and geometric distortion, partly depicting a singer at, and partly hiding him behind, his microphone. Jimi L. Evins, one of the show’s standouts, transforms multiform fields of color into oceans, horizons, and prisons in “The Migration Series.” An object lesson in what these tools are actually for: analysis, contemplation, a revelation of dictatorial narrative. A visual seminar on the black face and the black space.\u003c/p>\n\u003cp>The most delightful recurring theme, however, was the subtle visual irony running throughout the show, contrasting with occasionally clunky verbal jokes: Mark Dukes’s “Holy Faces of St. Sambo” employs a bludgeoning written satire over a bizarrely funny parody of an Eastern Orthodox icon; Monica Clark’s “King David” depicts in charcoal a cartoonish lion’s face (a la “Lion King”) with yellow human eyes, challenging and proud; Yasmin Sayyed’s painting of the eye of a hurricane in a landscape is titled “Quiet Prayer.”\u003c/p>\n\u003cp>It feels unfair to continue picking out pieces in a show so full of strong work, but I have to mention the display of beaded and painted stuffed dolls by Karen Seneferu. The dolls seem to represent boys the artist knows, their titles hinting at familiar relationships: “Flyboy,” “Coolio Boy,” “I Just Want Five Feathers.” The beading patterns and feathers suggest a faux tribalism, but the wide-eyed, painted faces are purely contemporary. Like much of the work in \u003cb>The Art of Living Black\u003c/b> Seneferu’s dolls integrate multiple awarenesses: of the community’s cultural history, of the artist’s current milieu and the context in which the work is being produced, of the dangers of perception for artists working with beads and seeds (another popular theme in the show), and of the expectations of “urban” art.\u003c/p>\n\u003cp>I suppose you could say that this — as much as anything — is what \u003cb>The Art of Living Black\u003c/b> is about: representing in art a complex consciousness. But I think that phrase is too general. The language of the exhibition is entirely visual, and very specific to its context. You have to see it, to hear it.\u003c/p>\n\u003cp>By the way, Obama is not forgotten. Deep into the show we see a painting by Milton Tuitt of Barack taking a picture of Michelle. Flanked by his two daughters, the president’s face is hidden by the camera. It is their gaze in which Michelle is captured this time; it is the black man’s eye in the viewfinder, black children who are the audience, the black woman lovingly beheld. This picture should be the caption for the whole show: it is not tables turning, but merely a question of who is observing whom, and what that makes them see.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> runs through March 14, 2009 at the \u003ca href=\"http://www.therichmondartcenter.org/\">Richmond Art Center\u003c/a>. The exhibition encompasses two weekends of open studios on March 7/8 and March 14/15, as well as satellite exhibitions and a self-guided tour. Don’t neglect to check out the companion exhibition \u003cb>Barbershop and Beauty Shop\u003c/b> curated by Herschel West, an interactive multimedia show about the culture of African American hairstyling.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 21st century and a black president (well, bi-racial) sits in the Oval Office. Obama was sworn in the day after MLK Day; Aretha Franklin (and her hat) sang the national anthem; Dr. Joseph Lowery quoted “Black, Brown, and White” in his benediction. Obama’s first full month in office is Black History Month. Suddenly, identity markers that have worn thin over three or four decades of identity politics start taking on a new and complex meaning. No, race isn’t over; this is where it starts to get interesting.\u003c/p>\n\u003cp>If the world feels unprepared to understand what it means to be black in America in the new millennium, it’s not because nobody’s been talking about it. Take \u003cb>The Art of Living Black\u003c/b>. This annual non-juried exhibition is in its 13th year at the Richmond Art Center (RAC), and it feels like a conversation that has mellowed with repetition; but one that continues because it’s far from over. The show welcomes all comers — artists of African descent, that is — so I expected it to be something of a free-for-all, visually and thematically. Instead, I saw a display of work by artists in disciplined dialogue with each other and their world; a show unified by common inquiry rather than curatorial vision.\u003c/p>\n\u003cp>An RAC staffer confirmed that many of the over 70 participating artists showed there year after year, responding to each other’s work. This is a kind of artists’ community that many mainstream artists don’t connect with; a community of color, rather than form, pursuing a social question rather than solely an aesthetic one. And this is a profoundly important resource at a moment in history when the rules are changing.\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> favors a narrative mode of painting and sculpture over conceptualism. The works speak directly to the viewer: none of them need an explanatory text. I saw a lot of faces — more than anything I saw faces — pulled partway into abstraction, geometrically fragmented, blurred, broken down into primary and secondary colors; a gallery full of distorted and dissected African faces. I saw almost no straightforward portraiture and almost no bodies in motion, the two modes — I was powerfully reminded — in which African Americans are usually depicted in the media.\u003c/p>\n\u003cp>Virginia Jourdan captured in “Lyn” — a bust of a woman smiling in triumph on top of the massive volume of War and Peace — my exact feeling of accomplishment after reading that doorstop. Latisha Baker burnt a delicate line drawing of a woman into wood (the technique is deliciously named “pyrography”). Makeda Rashid’s “Lavender Thoughts” hints at further layers of complexity in the African American community, showing a young man examining his dreadlocks, while menaced or enticed by a lavender cloud above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The modernist toolkit is very much in use here. Aside from more cubism than you can shake a stick at, I saw constructivist, impressionist, and even fauvist breakdowns of faces, figures, and scenes. Hilda Robinson’s glowing pastel “Sista’s” recalls Degas and Toulouse-Lautrec in its snapshot of two women in their club gear. Jason Austin’s drawing “Soul” nods to both pop culture graphics and geometric distortion, partly depicting a singer at, and partly hiding him behind, his microphone. Jimi L. Evins, one of the show’s standouts, transforms multiform fields of color into oceans, horizons, and prisons in “The Migration Series.” An object lesson in what these tools are actually for: analysis, contemplation, a revelation of dictatorial narrative. A visual seminar on the black face and the black space.\u003c/p>\n\u003cp>The most delightful recurring theme, however, was the subtle visual irony running throughout the show, contrasting with occasionally clunky verbal jokes: Mark Dukes’s “Holy Faces of St. Sambo” employs a bludgeoning written satire over a bizarrely funny parody of an Eastern Orthodox icon; Monica Clark’s “King David” depicts in charcoal a cartoonish lion’s face (a la “Lion King”) with yellow human eyes, challenging and proud; Yasmin Sayyed’s painting of the eye of a hurricane in a landscape is titled “Quiet Prayer.”\u003c/p>\n\u003cp>It feels unfair to continue picking out pieces in a show so full of strong work, but I have to mention the display of beaded and painted stuffed dolls by Karen Seneferu. The dolls seem to represent boys the artist knows, their titles hinting at familiar relationships: “Flyboy,” “Coolio Boy,” “I Just Want Five Feathers.” The beading patterns and feathers suggest a faux tribalism, but the wide-eyed, painted faces are purely contemporary. Like much of the work in \u003cb>The Art of Living Black\u003c/b> Seneferu’s dolls integrate multiple awarenesses: of the community’s cultural history, of the artist’s current milieu and the context in which the work is being produced, of the dangers of perception for artists working with beads and seeds (another popular theme in the show), and of the expectations of “urban” art.\u003c/p>\n\u003cp>I suppose you could say that this — as much as anything — is what \u003cb>The Art of Living Black\u003c/b> is about: representing in art a complex consciousness. But I think that phrase is too general. The language of the exhibition is entirely visual, and very specific to its context. You have to see it, to hear it.\u003c/p>\n\u003cp>By the way, Obama is not forgotten. Deep into the show we see a painting by Milton Tuitt of Barack taking a picture of Michelle. Flanked by his two daughters, the president’s face is hidden by the camera. It is their gaze in which Michelle is captured this time; it is the black man’s eye in the viewfinder, black children who are the audience, the black woman lovingly beheld. This picture should be the caption for the whole show: it is not tables turning, but merely a question of who is observing whom, and what that makes them see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> runs through March 14, 2009 at the \u003ca href=\"http://www.therichmondartcenter.org/\">Richmond Art Center\u003c/a>. The exhibition encompasses two weekends of open studios on March 7/8 and March 14/15, as well as satellite exhibitions and a self-guided tour. Don’t neglect to check out the companion exhibition \u003cb>Barbershop and Beauty Shop\u003c/b> curated by Herschel West, an interactive multimedia show about the culture of African American hairstyling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just stop lying to me. What I expect from the people in my life, I want from my art. So I want to believe the artists working at Creativity Explored, a gallery and workshop for artists with developmental disabilities, are being honest. That they make work straight from their souls and are guileless in a way artists without developmental disabilities are not. Yes, this is a condescending generality, a fetishization of a vulnerable population, and a false dichotomy between the purified realm of “outsider art” and the duplicitous cunning of the art world. Yeah, yeah.\u003c/p>\n\u003cp>I just know I liked the work in \u003cb>Legend: Myth and Memory\u003c/b>, on display through February 25, 2009. The show, curated by Gilles Combet, includes art that mixes words with images. The curatorial statement reads, “In the case of Creativity Explored’s many studio artists…some of whom do not speak, making art that brings images and text together can become a powerful way to communicate stories that often remain untold.” The suggestion of a long-suppressed narrative coming to light pulled me in, but it isn’t the reason I stayed. I stuck around for the juxtapositions — disturbing, pleasing, absurd — between text and pictures.\u003c/p>\n\u003cp>James Miles’s transportation-themed images use geometric compositions to portray stories of travel. A simple tableau of his mother and father in a brown sedan with red wheels comes with this text: “Mom and dad go driving in the car to shop. Food drinks milk…cheese carrot celery.” With the addition of an explanation and brief grocery list¸ a quotidian act becomes intimate. Miles’s night sky, created by indigo pastel on black paper, buoys and envelops the entire scene.\u003c/p>\n\u003cp>A lot of artists without developmental disabilities make work that looks like this. Some even have MFAs from fancy art schools. They employ a faux-naïve approach, as though there is something inherently authentic in that style. I like some of that work, some of those cryptic shapes and taxonomies, but am also wary of it. It feels a little too self aware. Can you really be naïve if you know you’re being naïve? Just because you dress in kid’s clothes doesn’t mean you’re suddenly 8 years old again.\u003c/p>\n\u003cp>I spent the most time with artist Camille Holvoet’s work. Holvoet paints images of sugary sweet confection — cupcakes and layer cakes and bowls of candy — using the pastries as a template to experiment with color and form. Onto these images, she writes stories about living in an institution, about being left out, and in one, asks why losing weight feels so much like loss. Amazingly, the narratives don’t subvert the images. Somehow they coexist, and a duality emerges: Life is both sugary sweet and a nightmare at the same time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe, unlike a lot of the heartfelt messages I both dodge and absorb each day, I let myself believe she was sincere. That she really had these questions and that these stories lived in her head every day. And that’s when I cried. I’m not saying it was necessarily the form or appearance of the work that was affecting, as much as my belief in its authenticity. Because I don’t care what you say, I just want you to mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Legend, Myth, and Memory\u003c/b> includes work by nearly fifteen artists. It is on display at Creativity Explored, 3245 16th St., San Francisco, through February 25, 2009. For more information, call 415-863-2108.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just stop lying to me. What I expect from the people in my life, I want from my art. So I want to believe the artists working at Creativity Explored, a gallery and workshop for artists with developmental disabilities, are being honest. That they make work straight from their souls and are guileless in a way artists without developmental disabilities are not. Yes, this is a condescending generality, a fetishization of a vulnerable population, and a false dichotomy between the purified realm of “outsider art” and the duplicitous cunning of the art world. Yeah, yeah.\u003c/p>\n\u003cp>I just know I liked the work in \u003cb>Legend: Myth and Memory\u003c/b>, on display through February 25, 2009. The show, curated by Gilles Combet, includes art that mixes words with images. The curatorial statement reads, “In the case of Creativity Explored’s many studio artists…some of whom do not speak, making art that brings images and text together can become a powerful way to communicate stories that often remain untold.” The suggestion of a long-suppressed narrative coming to light pulled me in, but it isn’t the reason I stayed. I stuck around for the juxtapositions — disturbing, pleasing, absurd — between text and pictures.\u003c/p>\n\u003cp>James Miles’s transportation-themed images use geometric compositions to portray stories of travel. A simple tableau of his mother and father in a brown sedan with red wheels comes with this text: “Mom and dad go driving in the car to shop. Food drinks milk…cheese carrot celery.” With the addition of an explanation and brief grocery list¸ a quotidian act becomes intimate. Miles’s night sky, created by indigo pastel on black paper, buoys and envelops the entire scene.\u003c/p>\n\u003cp>A lot of artists without developmental disabilities make work that looks like this. Some even have MFAs from fancy art schools. They employ a faux-naïve approach, as though there is something inherently authentic in that style. I like some of that work, some of those cryptic shapes and taxonomies, but am also wary of it. It feels a little too self aware. Can you really be naïve if you know you’re being naïve? Just because you dress in kid’s clothes doesn’t mean you’re suddenly 8 years old again.\u003c/p>\n\u003cp>I spent the most time with artist Camille Holvoet’s work. Holvoet paints images of sugary sweet confection — cupcakes and layer cakes and bowls of candy — using the pastries as a template to experiment with color and form. Onto these images, she writes stories about living in an institution, about being left out, and in one, asks why losing weight feels so much like loss. Amazingly, the narratives don’t subvert the images. Somehow they coexist, and a duality emerges: Life is both sugary sweet and a nightmare at the same time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe, unlike a lot of the heartfelt messages I both dodge and absorb each day, I let myself believe she was sincere. That she really had these questions and that these stories lived in her head every day. And that’s when I cried. I’m not saying it was necessarily the form or appearance of the work that was affecting, as much as my belief in its authenticity. Because I don’t care what you say, I just want you to mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Legend, Myth, and Memory\u003c/b> includes work by nearly fifteen artists. It is on display at Creativity Explored, 3245 16th St., San Francisco, through February 25, 2009. For more information, call 415-863-2108.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I drove by a Jake Longstreth painting last month. Just outside of Reno, although it could’ve been Ohio or Indiana. Cresting hills on I-80, I pointed to a beige building that once housed a Super K-Mart. Now deserted, it was surrounded by a sprawling city oversaturated with chain stores, ringed by housing developments whose residents can’t pay their bills. (Nevada had the nation’s highest foreclosure rate in 2008.) Longstreth, an Oakland artist, paints suburban sameness in the form of big box stores, oleander bushes, tennis courts, and swimming pools — the ubiquitous details of the landscape meant to indicate material abundance and leisure. He’s been driving across the country capturing these bleak scenes for several years, but his perspective seems particularly relevant right now.\u003c/p>\n\u003cp>While Longstreth’s images of vacant construction sites and tennis courts once read as dispatches from an ever expanding suburban sprawl, they now appear as glimpses of a ruinous future; a preview of what it will look like when all the people have moved out. A small selection of the artist’s recent work is on display at the Gregory Lind Gallery through January 31, 2009. \u003cb>All it is\u003c/b> asks viewers not to get their hopes up; it presents nine scenes that are understated, stark, and just outside your car window.\u003c/p>\n\u003cp>Longstreth strips landscapes to their essentials, framing the dreary day-to-day views that come before our eyes but rarely register on our brains. In \u003cb>Sonoma\u003c/b>, a blanched store wall serves as support for a red sign spelling “pharmacy” in capital letters. The Sonoma region is better known, of course, for its vistas of vineyards and rolling hills than its Targets or Wal-Marts. But Longstreth shows us how these uniform scenes, on view across the country, are equally accurate portraits of place. \u003cb>Small Town In-Ground\u003c/b> showcases a suburban status symbol — the backyard swimming pool. Empty of people, framed by shadows and trees, the icy body of water perfectly communicates the lonesomeness that can pervade the suburbs. What did we sacrifice to get here?\u003c/p>\n\u003cp>Longstreth’s paintings appear at a turning point in suburban meaning, as one-time symbols of middle-class comfort now emblemize failed dreams and mass displacement. I want to know what the next post-apocalyptic landscape will look like. I picture a foreclosure-ridden, post-suburban frightscape, in which empty big box stores become home to roving bands of gypsies and skateboarders finally have free reign over the parking lots.\u003c/p>\n\u003cp>\u003cb>All it is\u003c/b> is at the Gregory Lind Gallery, 49 Geary St., San Francisco, through January 31, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"tagline": "Art is where you find it",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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