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"content": "\u003cp>The first thing you’ll notice when you walk into \u003cb>Edible Expeditions\u003c/b>, the newest exhibit at the \u003ca href=\"http://www.conservatoryofflowers.org/\">Conservatory of Flowers\u003c/a>, is the incredible smell. A row of small citrus trees lines the path near the door, and the flowers’ sweet honey scent hits you the way the humidity does in other parts of the Conservatory. As the path winds through plants from around the world, organized by continent, the buddha’s hand citron and the kumquat fade into the curry tree and then the allspice. It’s a tropical and sub-tropical collection, so you won’t get any ideas for your garden here, but it’s a chance to see some plants you eat, and a bunch you probably don’t.\u003c/p>\n\u003cp>Mike Gonzalez, the exhibits manager at the Conservatory said he worked to find a balance in the show between plants that have economic importance, like pineapples and cacao, and plants with ethnobotanical interest (and incredible names) like the chestnut dioon and the variegated monster fruit, less well-known because they aren’t commercially available.\u003c/p>\n\u003cp>It’s not a flashy exhibit, and it doesn’t have the macabre allure of 2007’s carnivorous plants show (many of those carnivorous plants have joined the permanent collection in the aquatic plants room, so after visiting the edible plants, you can cross the building to visit the ones that eat). But there are surprises, familiar foods, growing out of places I didn’t expect, join strange fruits I had never heard of. Pineapples squat in the middle of spiky ground-hugging bromeliads; vanilla beans hang from a viney, leggy orchid; an enormous jack fruit — they can reach 80 pounds — sits on the display table, next to a scaley, lime green cherimoya.\u003c/p>\n\u003cp>Not everything is in bloom though, and you can’t see the edible parts of every plant in the room. Flowers don’t automatically open when a new show does, so the exhibit will change through the year as different plants come in to season. I’ll have to go back to see the ice cream bean tree, not yet in fruit when I visited (word is that the pulp tastes like cotton candy). And other plants, difficult to import either because of their rarity or because of California agricultural import restrictions, are just getting established from seed. A cinnamon tree, only a couple inches tall, isn’t on display yet. But the exhibit is augmented by lovely botanical drawings, and the Conservatory is working with the San Francisco Wholesale Produce Market to keep fresh exotic fruits around for visitors to touch and smell.\u003c/p>\n\u003cp>There’s not a lot to taste, though, and all those enticing flavors pose a problem. Gonzalez says people keep picking the fruit off the trees for themselves. It’s not totally surprising; he says he and his staff enjoyed eating their way through the research and assembly of the show. It sounds a bit like \u003cb>America’s Test Kitchen\u003c/b>: figuring out how to prepare and eat plants that are sharp, smelly, and sometimes poisonous. I’m glad to hear that our foraging instincts are still intact, but it’s a risky business if you don’t know what you’re grabbing. So come smell the citrus trees, heft the jack fruit, and check out the dragon eye, but be advised that eating too much dioon may cause brain damage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Edible Expeditions\u003c/b> is at the Conservatory of Flowers in Golden Gate Park through November 1, 2009. Visit the \u003ca href=\"http://www.conservatoryofflowers.org/insidetheconservatory/special.htm\">Conservatory of Flowers website\u003c/a> for more information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you’ll notice when you walk into \u003cb>Edible Expeditions\u003c/b>, the newest exhibit at the \u003ca href=\"http://www.conservatoryofflowers.org/\">Conservatory of Flowers\u003c/a>, is the incredible smell. A row of small citrus trees lines the path near the door, and the flowers’ sweet honey scent hits you the way the humidity does in other parts of the Conservatory. As the path winds through plants from around the world, organized by continent, the buddha’s hand citron and the kumquat fade into the curry tree and then the allspice. It’s a tropical and sub-tropical collection, so you won’t get any ideas for your garden here, but it’s a chance to see some plants you eat, and a bunch you probably don’t.\u003c/p>\n\u003cp>Mike Gonzalez, the exhibits manager at the Conservatory said he worked to find a balance in the show between plants that have economic importance, like pineapples and cacao, and plants with ethnobotanical interest (and incredible names) like the chestnut dioon and the variegated monster fruit, less well-known because they aren’t commercially available.\u003c/p>\n\u003cp>It’s not a flashy exhibit, and it doesn’t have the macabre allure of 2007’s carnivorous plants show (many of those carnivorous plants have joined the permanent collection in the aquatic plants room, so after visiting the edible plants, you can cross the building to visit the ones that eat). But there are surprises, familiar foods, growing out of places I didn’t expect, join strange fruits I had never heard of. Pineapples squat in the middle of spiky ground-hugging bromeliads; vanilla beans hang from a viney, leggy orchid; an enormous jack fruit — they can reach 80 pounds — sits on the display table, next to a scaley, lime green cherimoya.\u003c/p>\n\u003cp>Not everything is in bloom though, and you can’t see the edible parts of every plant in the room. Flowers don’t automatically open when a new show does, so the exhibit will change through the year as different plants come in to season. I’ll have to go back to see the ice cream bean tree, not yet in fruit when I visited (word is that the pulp tastes like cotton candy). And other plants, difficult to import either because of their rarity or because of California agricultural import restrictions, are just getting established from seed. A cinnamon tree, only a couple inches tall, isn’t on display yet. But the exhibit is augmented by lovely botanical drawings, and the Conservatory is working with the San Francisco Wholesale Produce Market to keep fresh exotic fruits around for visitors to touch and smell.\u003c/p>\n\u003cp>There’s not a lot to taste, though, and all those enticing flavors pose a problem. Gonzalez says people keep picking the fruit off the trees for themselves. It’s not totally surprising; he says he and his staff enjoyed eating their way through the research and assembly of the show. It sounds a bit like \u003cb>America’s Test Kitchen\u003c/b>: figuring out how to prepare and eat plants that are sharp, smelly, and sometimes poisonous. I’m glad to hear that our foraging instincts are still intact, but it’s a risky business if you don’t know what you’re grabbing. So come smell the citrus trees, heft the jack fruit, and check out the dragon eye, but be advised that eating too much dioon may cause brain damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Edible Expeditions\u003c/b> is at the Conservatory of Flowers in Golden Gate Park through November 1, 2009. Visit the \u003ca href=\"http://www.conservatoryofflowers.org/insidetheconservatory/special.htm\">Conservatory of Flowers website\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Plan A: Just say all the work is good. Most of it is. Besides, the artists/students practically killed themselves making it, and they’re all in so much debt now, it would be cruel to point out any shortcomings. Plan B: Be brutally honest. The space is too big and there are too many artists to take in (forty-seven) and some of their work was nearly hidden, hung or displayed in corners and hallways of the building. Some of the work was utterly baffling. Pray that none of the people you know who are involved with California College of the Arts and/or are included in the show ever read the review. Plan C: Just talk about what you liked best.\u003c/p>\n\u003cp>Plan C:\u003cbr>Every year, the CCA MFA Exhibition celebrates and shows off the work of the graduating class. And every year it’s kind of the same and kind of different. The big sculptures march down the center of the building’s nave, the photography is featured in the first two rooms on the left, and at least one artist makes something that involves a pile of cardboard on the ground. There’s one more perennial guarantee: As you make your way through the large building, digesting the overwhelming size and scope of it all, you are certain to find myriad gems — stuff you want to know more about, work you can’t stop thinking about, and objects that are just cool to look at. Here’s what I found.\u003c/p>\n\u003cp>Alicia Escott paints endangered animals on disposable packaging, marrying good technique with a smart concept. Her work draws attention to the things we throw away — objects and animals — and the absurdity of the two sharing the same fate. Using translucent backgrounds, Escott’s animals appear as specters midway through the act of disappearance. On clear plastic from Ikea, she paints a grizzly bear. On the plastic lid of a sushi container, a group of smiling fishermen hold a prize fish. Unfortunately, the white walls of the space caused the clear canvases to blend into the background. The work glows in other settings. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Alicia_Escott/4.html\">Check it out\u003c/a>.\u003c/p>\n\u003cp>Matthew Rana’s work made the world seem bigger than CCA, no small feat. For his thesis, Rana conducted extensive interviews with a man named Ernest Patrick Butler. Butler sleeps at the MacArthur BART station and also sells his crocheted hats there. Rana presents Butler’s story in a hand-drawn comic book; the “superhero” implications of the form contrast with the gritty humility of the content. For his installation, he displayed several of Butler’s hats and set out the comic books on a spinning display, the latter free for the taking.\u003c/p>\n\u003cp>The work draws attention to the disadvantaged, but it doesn’t just operate on the level of social justice. It functions critically. Rana engages with the larger social dynamics of the Bay Area, something that doesn’t happen enough within most art schools. Through its difference from the other work on display, Rana’s piece (intentionally or not) points out the school’s insularity. He reminds us that we are in a privileged environment by highlighting someone we pass by and usually ignore on our way there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s more, of course. Conrad Ruiz’s bright paintings are exuberant collages of pop culture and childhood wonder, capturing the duality of our culture’s oversaturation with media images and the appeal of such diversions. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Conrad_Ruiz/1.html\">“Overload”\u003c/a> is a charming confluence of serious matters and innocence. Ruiz paints the President of the United States riding through the air on a giant fox in tones similar to those found on Trapper Keeper folders of the 1980s.\u003c/p>\n\u003cp>Pablo Cristi’s low-rider burrito cart, tucked away in the PLAySPACE Gallery upstairs, is filled with \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Pablo_Cristi/6.html\">ceramic burritos\u003c/a>. It references two of the most visible (to the dominant culture) vehicles of Latino commerce and culture. The hybridized, confused cart also highlights the way disparate aspects of the Latino-American experience are condensed into one stereotype. Plus it’s painted a really cool glittery blue color.\u003c/p>\n\u003cp>Klea McKenna’s photographs of simulated nature feel both artificial and hauntingly primitive. Plump flies hang from strings in \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Klea_McKenna/2.html\">“Flight Patterns”\u003c/a>. We know it’s a set-up, but somehow that doesn’t matter. Aren’t all our experiences of “nature” mediated, anyway?\u003c/p>\n\u003cp>Jason Hanasik’s \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Jason_Hanasik/1.html\">portraits of young men\u003c/a> either in or recently returned from the military are both raw and gentle. They capture the subjects’ vulnerability, tenderness, and even fear¸ qualities not usually seen in situations also involving camouflage.\u003c/p>\n\u003cp>You should go see the exhibition during its short run. For all its overstimulating effects, it’s well worth it. For orientation, check out the \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts.html\">graduate thesis Web site\u003c/a> prior to your visit to identify the artists you are interested in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The California College of the Arts Master of Fine Arts exhibition is on display at the school’s San Francisco campus at 1111 Eighth Street, 10am to 7:30pm daily through Saturday, May 16, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plan A: Just say all the work is good. Most of it is. Besides, the artists/students practically killed themselves making it, and they’re all in so much debt now, it would be cruel to point out any shortcomings. Plan B: Be brutally honest. The space is too big and there are too many artists to take in (forty-seven) and some of their work was nearly hidden, hung or displayed in corners and hallways of the building. Some of the work was utterly baffling. Pray that none of the people you know who are involved with California College of the Arts and/or are included in the show ever read the review. Plan C: Just talk about what you liked best.\u003c/p>\n\u003cp>Plan C:\u003cbr>Every year, the CCA MFA Exhibition celebrates and shows off the work of the graduating class. And every year it’s kind of the same and kind of different. The big sculptures march down the center of the building’s nave, the photography is featured in the first two rooms on the left, and at least one artist makes something that involves a pile of cardboard on the ground. There’s one more perennial guarantee: As you make your way through the large building, digesting the overwhelming size and scope of it all, you are certain to find myriad gems — stuff you want to know more about, work you can’t stop thinking about, and objects that are just cool to look at. Here’s what I found.\u003c/p>\n\u003cp>Alicia Escott paints endangered animals on disposable packaging, marrying good technique with a smart concept. Her work draws attention to the things we throw away — objects and animals — and the absurdity of the two sharing the same fate. Using translucent backgrounds, Escott’s animals appear as specters midway through the act of disappearance. On clear plastic from Ikea, she paints a grizzly bear. On the plastic lid of a sushi container, a group of smiling fishermen hold a prize fish. Unfortunately, the white walls of the space caused the clear canvases to blend into the background. The work glows in other settings. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Alicia_Escott/4.html\">Check it out\u003c/a>.\u003c/p>\n\u003cp>Matthew Rana’s work made the world seem bigger than CCA, no small feat. For his thesis, Rana conducted extensive interviews with a man named Ernest Patrick Butler. Butler sleeps at the MacArthur BART station and also sells his crocheted hats there. Rana presents Butler’s story in a hand-drawn comic book; the “superhero” implications of the form contrast with the gritty humility of the content. For his installation, he displayed several of Butler’s hats and set out the comic books on a spinning display, the latter free for the taking.\u003c/p>\n\u003cp>The work draws attention to the disadvantaged, but it doesn’t just operate on the level of social justice. It functions critically. Rana engages with the larger social dynamics of the Bay Area, something that doesn’t happen enough within most art schools. Through its difference from the other work on display, Rana’s piece (intentionally or not) points out the school’s insularity. He reminds us that we are in a privileged environment by highlighting someone we pass by and usually ignore on our way there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s more, of course. Conrad Ruiz’s bright paintings are exuberant collages of pop culture and childhood wonder, capturing the duality of our culture’s oversaturation with media images and the appeal of such diversions. \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Conrad_Ruiz/1.html\">“Overload”\u003c/a> is a charming confluence of serious matters and innocence. Ruiz paints the President of the United States riding through the air on a giant fox in tones similar to those found on Trapper Keeper folders of the 1980s.\u003c/p>\n\u003cp>Pablo Cristi’s low-rider burrito cart, tucked away in the PLAySPACE Gallery upstairs, is filled with \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Pablo_Cristi/6.html\">ceramic burritos\u003c/a>. It references two of the most visible (to the dominant culture) vehicles of Latino commerce and culture. The hybridized, confused cart also highlights the way disparate aspects of the Latino-American experience are condensed into one stereotype. Plus it’s painted a really cool glittery blue color.\u003c/p>\n\u003cp>Klea McKenna’s photographs of simulated nature feel both artificial and hauntingly primitive. Plump flies hang from strings in \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Klea_McKenna/2.html\">“Flight Patterns”\u003c/a>. We know it’s a set-up, but somehow that doesn’t matter. Aren’t all our experiences of “nature” mediated, anyway?\u003c/p>\n\u003cp>Jason Hanasik’s \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts/Jason_Hanasik/1.html\">portraits of young men\u003c/a> either in or recently returned from the military are both raw and gentle. They capture the subjects’ vulnerability, tenderness, and even fear¸ qualities not usually seen in situations also involving camouflage.\u003c/p>\n\u003cp>You should go see the exhibition during its short run. For all its overstimulating effects, it’s well worth it. For orientation, check out the \u003ca href=\"http://sites.cca.edu/gradthesisevents/2009/finearts.html\">graduate thesis Web site\u003c/a> prior to your visit to identify the artists you are interested in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The California College of the Arts Master of Fine Arts exhibition is on display at the school’s San Francisco campus at 1111 Eighth Street, 10am to 7:30pm daily through Saturday, May 16, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>First impressions: the black-and-white photographs creep evenly along the walls, most of them just a little below eye level. The frames are dark, and the slightly beveled edge of the white matte board that surrounds each photograph is absolutely perfect — absolutely professional. A modern, conservative installation, which is probably as it should be for a set of mainly modern, and yes, mainly conservative, photographs.\u003c/p>\n\u003cp>The exhibit description for \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=1006/\">Signs: Wordplay in Photography\u003c/a>, co-sponsored by the Sack Photographic Trust and the de Young Museum, states that the intent of the exhibit is to explore “the myriad uses of signs in the work of 20th- and 21st-century photographers, from Walker Evans to Lee Friedlander and Ed Ruscha, “but representatives of the 21st-century are largely missing. While aesthetically I don’t find this a negative, intellectually it’s definitely disappointing.\u003c/p>\n\u003cp>It takes a moment for my eyes to adjust to the delicacy of the prints — apparently I’ve become over-habituated to the assertive nature of large-scale, contemporary color photographic installations. Too used to the experience of the work approaching me. If nothing else, the prints here are masterful: they foreground visual tactility in a way that brings to mind the 17th-century idea that eyes are not just associated with sight, but touch. Since the subject is signs, there is a tendency towards images of peeling wheat-pasted posters contrasted against brick, wood and concrete, or just on their own. Andy Warhol’s “Showbills” (1983) is the best example of this: the showbills sag, balloon and crease like old skin.\u003c/p>\n\u003cp>Most of the works in \u003cb>Signs\u003c/b> date from the 1920s through the 1960s. It’s a small show — only one room — and Evans and Ruscha feature heavily, along with a couple prints by Friedlander and a few by San Francisco photographer, \u003ca href=\"http://www.johngutmann.org/\">John Gutmann\u003c/a>. Based on the exhibit title, my hope was that the exhibit would be more liberal in its concept of “wordplay,” as well as broader in its material scope, but as someone who is always interested in what happens when image and text get together, I guess I just got overexcited and skipped the fine print.\u003c/p>\n\u003cp>The trope here is signage as texture — and the fineness of its weave into our everyday lives. In other words, the photographers here focus on the visual language of things like advertising and graffiti and how they inhabit the space of the human. Some highlight the humor (boys running in one direction while the billboard behind them features boys running the opposite), others the threat of accumulation (Friedlander’s “\u003ca href=\"http://www.icp.org/atf/cf/%7BA0B4EE7B-5A90-46AB-AF37-7115A2D48F94%7D/INFINITY2006_friedlander_IMAGE.JPG/\">New York City\u003c/a>,” 1974) and social commentary (Richard Nagler’s “\u003ca href=\"http://www.georgekrevskygallery.com/dynamic/artwork_detail.asp?ArtworkID=852/\">I Assume You Drink Martell\u003c/a>,” 1983).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nothing really new or surprising, but the show did leave me curious. Most of the work collapses the space between me and my surroundings — er, the human and the landscape of advertising — until what is background and what is foreground gets a little muddy (a good example of this being Gutmann’s “War Propaganda Paintings, China,” 1944-5, which features several Chinese laborers with their backs to us, staring at the painted image of a tank over which another sign has been pasted). In this respect, the later works by Ruscha and Warhol stand out due to the way they focus on signs (or showbills, in Warhol’s case) as objects with their own significance. I wish that the curators of the show had played around with this trajectory and included some more contemporary descendents of this line of questioning… although the giant Ruscha triptych “\u003ca href=\"http://www.sfgate.com/cgi-bin/object/article?f=/c/a/2005/03/21/DDG6QBRQTV1.DTL&o=/\">Heaven\u003c/a>,” (1988) which can be found around the corner from the exhibit, is a certainly a sign of its own sort.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Signs: Wordplay in Photography\u003c/b> runs through June 14, 2009 at the de Young Museum in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First impressions: the black-and-white photographs creep evenly along the walls, most of them just a little below eye level. The frames are dark, and the slightly beveled edge of the white matte board that surrounds each photograph is absolutely perfect — absolutely professional. A modern, conservative installation, which is probably as it should be for a set of mainly modern, and yes, mainly conservative, photographs.\u003c/p>\n\u003cp>The exhibit description for \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=1006/\">Signs: Wordplay in Photography\u003c/a>, co-sponsored by the Sack Photographic Trust and the de Young Museum, states that the intent of the exhibit is to explore “the myriad uses of signs in the work of 20th- and 21st-century photographers, from Walker Evans to Lee Friedlander and Ed Ruscha, “but representatives of the 21st-century are largely missing. While aesthetically I don’t find this a negative, intellectually it’s definitely disappointing.\u003c/p>\n\u003cp>It takes a moment for my eyes to adjust to the delicacy of the prints — apparently I’ve become over-habituated to the assertive nature of large-scale, contemporary color photographic installations. Too used to the experience of the work approaching me. If nothing else, the prints here are masterful: they foreground visual tactility in a way that brings to mind the 17th-century idea that eyes are not just associated with sight, but touch. Since the subject is signs, there is a tendency towards images of peeling wheat-pasted posters contrasted against brick, wood and concrete, or just on their own. Andy Warhol’s “Showbills” (1983) is the best example of this: the showbills sag, balloon and crease like old skin.\u003c/p>\n\u003cp>Most of the works in \u003cb>Signs\u003c/b> date from the 1920s through the 1960s. It’s a small show — only one room — and Evans and Ruscha feature heavily, along with a couple prints by Friedlander and a few by San Francisco photographer, \u003ca href=\"http://www.johngutmann.org/\">John Gutmann\u003c/a>. Based on the exhibit title, my hope was that the exhibit would be more liberal in its concept of “wordplay,” as well as broader in its material scope, but as someone who is always interested in what happens when image and text get together, I guess I just got overexcited and skipped the fine print.\u003c/p>\n\u003cp>The trope here is signage as texture — and the fineness of its weave into our everyday lives. In other words, the photographers here focus on the visual language of things like advertising and graffiti and how they inhabit the space of the human. Some highlight the humor (boys running in one direction while the billboard behind them features boys running the opposite), others the threat of accumulation (Friedlander’s “\u003ca href=\"http://www.icp.org/atf/cf/%7BA0B4EE7B-5A90-46AB-AF37-7115A2D48F94%7D/INFINITY2006_friedlander_IMAGE.JPG/\">New York City\u003c/a>,” 1974) and social commentary (Richard Nagler’s “\u003ca href=\"http://www.georgekrevskygallery.com/dynamic/artwork_detail.asp?ArtworkID=852/\">I Assume You Drink Martell\u003c/a>,” 1983).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing really new or surprising, but the show did leave me curious. Most of the work collapses the space between me and my surroundings — er, the human and the landscape of advertising — until what is background and what is foreground gets a little muddy (a good example of this being Gutmann’s “War Propaganda Paintings, China,” 1944-5, which features several Chinese laborers with their backs to us, staring at the painted image of a tank over which another sign has been pasted). In this respect, the later works by Ruscha and Warhol stand out due to the way they focus on signs (or showbills, in Warhol’s case) as objects with their own significance. I wish that the curators of the show had played around with this trajectory and included some more contemporary descendents of this line of questioning… although the giant Ruscha triptych “\u003ca href=\"http://www.sfgate.com/cgi-bin/object/article?f=/c/a/2005/03/21/DDG6QBRQTV1.DTL&o=/\">Heaven\u003c/a>,” (1988) which can be found around the corner from the exhibit, is a certainly a sign of its own sort.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Signs: Wordplay in Photography\u003c/b> runs through June 14, 2009 at the de Young Museum in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent rainy Saturday, my pal \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\" target=\"offsite\" rel=\"noopener\">Emmanuel\u003c/a> and I put on our galoshes and booked it to the Mission for an art treasure hunt presented by 18 Reasons Gallery, a community foodie/art haven funded by the Bi-Rite family whose name was inspired by a \u003ca href=\"http://wexfordgirl.typepad.com/wexford_girl/2008/09/17-reasons-why.html\" target=\"offsite\" rel=\"noopener\">famous sign\u003c/a> that once lived in the Mission.\u003c/p>\n\u003cp>For their annual \u003cb>Hare & Hounds\u003c/b> event, the gallery invited artists to create maps that lead to an original artwork hidden somewhere in the neighborhood. Upon purchase of a map, the art is yours to find and keep. Artist Mike McConnell graciously created a preview treasure hunt for us so we could relay the full experience in time for you to participate.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare1.jpg\">\u003c/p>\n\u003cp>The hunt was on. Our map came in the form of a dainty handmade book of clues created by McConnell, co-creator of \u003cb>Hare & Hounds\u003c/b>. The first clue led us to his doorstep so we’d know which bookshop was at the end of his street. It turned out to be the famous Adobe Books where we got derailed in the Back Room Gallery reading Griffin McPartland’s text-filled watercolor balloon paintings.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare2.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare3.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back on track, we took the Lewis Carroll hint and headed to the fiction section to discover a tiny note that would complete the puzzle on page two of our map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare4.jpg\">\u003c/p>\n\u003cp>The woman working at Adobe turned out to be \u003ca href=\"http://www.sonyaderman.com\" target=\"offsite\" rel=\"noopener\">Sonya Derman\u003c/a>, another artist contributing to this year’s \u003cb>Hare & Hounds\u003c/b> who plans to create a more traditional map. We asked her about Griffin McPartland’s ‘zines and she pointed us to Needles & Pens where we took a detour and chatted with owner Andrew Scott about their terrific new show, \u003cb>You’ve Got Light in Your Eyes\u003c/b>, curated by Meighan O’Toole. When we told him about the hunt we were about to resume, he pulled out another treasure map! Apparently there are many artist-made maps to explore in the Mission. Speaking of maps, you can see more photos from our \u003cb>Hare & Hounds\u003c/b> adventure on this \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=102095672140431052780.00046972c82c873b7cf7a&ll=37.770918,-122.421062&spn=0.00938,0.019934&z=16\" target=\"offsite\" rel=\"noopener\">Google Map\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare5.jpg\">\u003c/p>\n\u003cp>Next stop was the Curiosity Shoppe where Sarah Smith’s wooden arrows pointed north toward everyone’s favorite secondhand store (and our next map point), Thrift Town. After luxuriating in the curiosities of the Shoppe and playing with an ominous fortune teller, we meandered down Valencia, giggling about all the fun we were having. Then suddenly, drama ensued. We’d lost the map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare6.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare7.jpg\">\u003c/p>\n\u003cp>Steps were retraced and my heart raced, what if I’d dropped it? Someone would snatch it up and find my treasure! More importantly, it was a precious piece of art in itself, and losing it would be lousy. I tried not to burst through the Shoppe’s door when we returned to look for it, and I also tried not to squeal when I saw the little map there, safe and sound on the counter. I felt like a jerk, but it was like being in \u003cb>The Goonies\u003c/b>, losing a treasure map in the rain like that. And just like them, we prevailed.\u003c/p>\n\u003cp>Once more hot on the trail of our prize, we headed back toward Thrift Town to discover the name of the artist’s studio and favorite color. “Blue Studio!” Emmanuel cried out. Sweet victory.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare8.jpg\">\u003c/p>\n\u003cp>We sent a text message to an anonymous number for our next clue, which led us to Faye’s Video and coffee shop. We declared ourselves “The White Rabbit” as instructed and were handed our final hint on the bottom of a cup. “Czech out one of the artist’s (and employees here) favorite films.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare10.jpg\">\u003c/p>\n\u003cp>Our treasure awaited in a DVD case on the shelves, but which one? Should we “Czech” the foreign film section? There was no foreign film section! Wait, we thought, he’s an employee here? Staff picks! The suspense was insurmountable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare11.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare12.jpg\">\u003c/p>\n\u003cp>Mike McConnell had left us a beautiful drawing incorporating symbols of our day, and it was better than anything we could’ve asked for. Plus, the thrill of the hunt was totally priceless. He soared to the top of our favorite artist list like a Pegasus with golden wings and a jetpack.\u003c/p>\n\u003cp>Go to 18 Reasons Gallery on May 16th. It’s your turn to hunt*.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare14.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*Hunting season begins at 1pm. Fifty trophies will be available.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back on track, we took the Lewis Carroll hint and headed to the fiction section to discover a tiny note that would complete the puzzle on page two of our map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare4.jpg\">\u003c/p>\n\u003cp>The woman working at Adobe turned out to be \u003ca href=\"http://www.sonyaderman.com\" target=\"offsite\" rel=\"noopener\">Sonya Derman\u003c/a>, another artist contributing to this year’s \u003cb>Hare & Hounds\u003c/b> who plans to create a more traditional map. We asked her about Griffin McPartland’s ‘zines and she pointed us to Needles & Pens where we took a detour and chatted with owner Andrew Scott about their terrific new show, \u003cb>You’ve Got Light in Your Eyes\u003c/b>, curated by Meighan O’Toole. When we told him about the hunt we were about to resume, he pulled out another treasure map! Apparently there are many artist-made maps to explore in the Mission. Speaking of maps, you can see more photos from our \u003cb>Hare & Hounds\u003c/b> adventure on this \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=102095672140431052780.00046972c82c873b7cf7a&ll=37.770918,-122.421062&spn=0.00938,0.019934&z=16\" target=\"offsite\" rel=\"noopener\">Google Map\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare5.jpg\">\u003c/p>\n\u003cp>Next stop was the Curiosity Shoppe where Sarah Smith’s wooden arrows pointed north toward everyone’s favorite secondhand store (and our next map point), Thrift Town. After luxuriating in the curiosities of the Shoppe and playing with an ominous fortune teller, we meandered down Valencia, giggling about all the fun we were having. Then suddenly, drama ensued. We’d lost the map.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare6.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare7.jpg\">\u003c/p>\n\u003cp>Steps were retraced and my heart raced, what if I’d dropped it? Someone would snatch it up and find my treasure! More importantly, it was a precious piece of art in itself, and losing it would be lousy. I tried not to burst through the Shoppe’s door when we returned to look for it, and I also tried not to squeal when I saw the little map there, safe and sound on the counter. I felt like a jerk, but it was like being in \u003cb>The Goonies\u003c/b>, losing a treasure map in the rain like that. And just like them, we prevailed.\u003c/p>\n\u003cp>Once more hot on the trail of our prize, we headed back toward Thrift Town to discover the name of the artist’s studio and favorite color. “Blue Studio!” Emmanuel cried out. Sweet victory.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare8.jpg\">\u003c/p>\n\u003cp>We sent a text message to an anonymous number for our next clue, which led us to Faye’s Video and coffee shop. We declared ourselves “The White Rabbit” as instructed and were handed our final hint on the bottom of a cup. “Czech out one of the artist’s (and employees here) favorite films.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare10.jpg\">\u003c/p>\n\u003cp>Our treasure awaited in a DVD case on the shelves, but which one? Should we “Czech” the foreign film section? There was no foreign film section! Wait, we thought, he’s an employee here? Staff picks! The suspense was insurmountable.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare11.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare12.jpg\">\u003c/p>\n\u003cp>Mike McConnell had left us a beautiful drawing incorporating symbols of our day, and it was better than anything we could’ve asked for. Plus, the thrill of the hunt was totally priceless. He soared to the top of our favorite artist list like a Pegasus with golden wings and a jetpack.\u003c/p>\n\u003cp>Go to 18 Reasons Gallery on May 16th. It’s your turn to hunt*.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hare14.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*Hunting season begins at 1pm. Fifty trophies will be available.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Skateboard art is naturally pegged as ratty and lowbrow. Of course, most people who skateboard can affectionately be lumped into the aforementioned categories. But what exactly is skate art? Is it art made \u003ci>by\u003c/i> skaters? Is it art made \u003ci>for\u003c/i> skaters? Can it be both, or neither? As much as I love skateboarding, I’m generally skeptical of skate art and its intent. I’m involuntarily attracted to skate related events, demos, premieres, screenings, etc. Usually it has to do with being in the same company of fellow skaters or nerding out when I see one of my childhood idols. But sometimes when I’m at these events, I’m faced with a nagging voice that tells me, “This doesn’t have anything to do with skateboarding. Let’s get out of here and go skate.”\u003c/p>\n\u003cp>Over the last two decades, street skateboarding has risen exponentially in popularity, spawning a number of undesirable cultural side effects, i.e., the X-Games, Tony Hawk Bagel Bite commercials and Bam Margera, to name a few. But it’s not just the commercial world that has an interest in skateboarding. The art community has taken notice and opened its doors to skate related work.\u003c/p>\n\u003cp>The Market Street Gallery’s current exhibition, \u003cb>Skate This Art\u003c/b>, is a benefit auction and fundraiser for Roaddawgz, a drop-in center for homeless youth in San Francisco’s Tenderloin neighborhood. The exhibit features over 50 artists including Jeremy Fish, Pobrecito, Matt Gonzalez (former San Francisco mayoral candidate and 2008 Green Party presidential running mate), Terry Marashlian, Jason Norelli, and Ah Young donating mostly custom-painted skateboard decks — a pretty literal interpretation of skate art, hence the title \u003cb>Skate This Art\u003c/b>. Unfortunately, I visited the gallery on their second day of the exhibition and the majority of the work had yet to be labeled with artist info and baseline bidding prices. A few workers were still busy hanging more boards and moving larger works around.\u003c/p>\n\u003cp>When I first walked into the gallery much of the artwork instantly reminded me of Haight Street. Many of the 100 plus skateboard decks hanging from the walls seem like they could also be for sale at a head shop, next to a Jerry Garcia t-shirt or a flaming 8-ball bong. You’ve got your dragons, sunsets, pop-culture stencils, amorphous blob doodles and even some dolphins. The decks on display are simply used as a canvas without much of a unifying theme. Art work is presented on long boards, short boards, broken boards and also furniture, including a chaise lounge comprised of 10 decks set at staggered heights. Most of the artists choose to draw or paint directly on the boards while a few use mixed media techniques or decorate them with stickers.\u003c/p>\n\u003cp>Ah Young’s contributions, yet to be labeled with a title by the curators, were definite standouts among the rest. Opting to use pieces of skateboards rather than a complete deck, Young constructed a vivid, multi-dimensional scene of the Golden Gate Bridge and San Francisco skyline. Although depicting the Golden Gate Bridge has become over trodden territory, Young’s execution makes it a success. The bite-size wooden scraps collected from colored skate decks are layered in a messy manner, giving the work depth and an almost animated quality. Since skate decks are typically made by gluing and pressing seven thin sheets of wood together, they become unusually splintered and cross-hatched when broken into pieces. This is what makes the work most engaging; instead of painting on decks, Young broke them down to create something entirely new.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artist Pobrecito employs a retro brown, yellow and red color palette with profile drawings of a few Latin looking, big-lipped, scraggly haired cartoon characters. I’ve seen his work before in San Francisco’s Mission district and regularly walk by one of his murals on Balmy Alley. Although his work is not blatantly comical it gets a laugh out of me every time. His characters look like they’ve been through the ringer but still maintain a hunger for life. Their twisted mugs ooze expression and glean a hint of hope.\u003c/p>\n\u003cp>To be fair, since the exhibition and auction benefits Roaddawgz, it would probably feel like a disconnect if the art was too clean and stuffy. The Haight Street vibe fits the stereotype of what a homeless youth drop-in center would be like, but let’s not jump to conclusions. It’s still a stereotype. Who knows where these kids come from or what their stories are. Not all of them have a pit bull on a chain and are asking you for money to buy weed. Roaddawgz helps struggling youth to develop technical training, job skills and offers art and literary activities where kids can receive cash payments for completed works. It’s just too bad \u003cb>Skate This Art\u003c/b> couldn’t have included more quality work. I’m sure Roaddawgz could use the funds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Skate this Art\u003c/b> is on display at the Market Street Gallery through May 31, 2009. For \u003ca href=\"http://www.marketstreetgallery.com\">more information\u003c/a>, visit marketstreetgallery.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Skateboard art is naturally pegged as ratty and lowbrow. Of course, most people who skateboard can affectionately be lumped into the aforementioned categories. But what exactly is skate art? Is it art made \u003ci>by\u003c/i> skaters? Is it art made \u003ci>for\u003c/i> skaters? Can it be both, or neither? As much as I love skateboarding, I’m generally skeptical of skate art and its intent. I’m involuntarily attracted to skate related events, demos, premieres, screenings, etc. Usually it has to do with being in the same company of fellow skaters or nerding out when I see one of my childhood idols. But sometimes when I’m at these events, I’m faced with a nagging voice that tells me, “This doesn’t have anything to do with skateboarding. Let’s get out of here and go skate.”\u003c/p>\n\u003cp>Over the last two decades, street skateboarding has risen exponentially in popularity, spawning a number of undesirable cultural side effects, i.e., the X-Games, Tony Hawk Bagel Bite commercials and Bam Margera, to name a few. But it’s not just the commercial world that has an interest in skateboarding. The art community has taken notice and opened its doors to skate related work.\u003c/p>\n\u003cp>The Market Street Gallery’s current exhibition, \u003cb>Skate This Art\u003c/b>, is a benefit auction and fundraiser for Roaddawgz, a drop-in center for homeless youth in San Francisco’s Tenderloin neighborhood. The exhibit features over 50 artists including Jeremy Fish, Pobrecito, Matt Gonzalez (former San Francisco mayoral candidate and 2008 Green Party presidential running mate), Terry Marashlian, Jason Norelli, and Ah Young donating mostly custom-painted skateboard decks — a pretty literal interpretation of skate art, hence the title \u003cb>Skate This Art\u003c/b>. Unfortunately, I visited the gallery on their second day of the exhibition and the majority of the work had yet to be labeled with artist info and baseline bidding prices. A few workers were still busy hanging more boards and moving larger works around.\u003c/p>\n\u003cp>When I first walked into the gallery much of the artwork instantly reminded me of Haight Street. Many of the 100 plus skateboard decks hanging from the walls seem like they could also be for sale at a head shop, next to a Jerry Garcia t-shirt or a flaming 8-ball bong. You’ve got your dragons, sunsets, pop-culture stencils, amorphous blob doodles and even some dolphins. The decks on display are simply used as a canvas without much of a unifying theme. Art work is presented on long boards, short boards, broken boards and also furniture, including a chaise lounge comprised of 10 decks set at staggered heights. Most of the artists choose to draw or paint directly on the boards while a few use mixed media techniques or decorate them with stickers.\u003c/p>\n\u003cp>Ah Young’s contributions, yet to be labeled with a title by the curators, were definite standouts among the rest. Opting to use pieces of skateboards rather than a complete deck, Young constructed a vivid, multi-dimensional scene of the Golden Gate Bridge and San Francisco skyline. Although depicting the Golden Gate Bridge has become over trodden territory, Young’s execution makes it a success. The bite-size wooden scraps collected from colored skate decks are layered in a messy manner, giving the work depth and an almost animated quality. Since skate decks are typically made by gluing and pressing seven thin sheets of wood together, they become unusually splintered and cross-hatched when broken into pieces. This is what makes the work most engaging; instead of painting on decks, Young broke them down to create something entirely new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artist Pobrecito employs a retro brown, yellow and red color palette with profile drawings of a few Latin looking, big-lipped, scraggly haired cartoon characters. I’ve seen his work before in San Francisco’s Mission district and regularly walk by one of his murals on Balmy Alley. Although his work is not blatantly comical it gets a laugh out of me every time. His characters look like they’ve been through the ringer but still maintain a hunger for life. Their twisted mugs ooze expression and glean a hint of hope.\u003c/p>\n\u003cp>To be fair, since the exhibition and auction benefits Roaddawgz, it would probably feel like a disconnect if the art was too clean and stuffy. The Haight Street vibe fits the stereotype of what a homeless youth drop-in center would be like, but let’s not jump to conclusions. It’s still a stereotype. Who knows where these kids come from or what their stories are. Not all of them have a pit bull on a chain and are asking you for money to buy weed. Roaddawgz helps struggling youth to develop technical training, job skills and offers art and literary activities where kids can receive cash payments for completed works. It’s just too bad \u003cb>Skate This Art\u003c/b> couldn’t have included more quality work. I’m sure Roaddawgz could use the funds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Skate this Art\u003c/b> is on display at the Market Street Gallery through May 31, 2009. For \u003ca href=\"http://www.marketstreetgallery.com\">more information\u003c/a>, visit marketstreetgallery.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I was little, I adored turning page after page of \u003cb>The Best Nest\u003c/b> by P.D. Eastman, as Mr. and Mrs. Bird gathered horsehair, mattress stuffing, and sweater string to create their new nest. If you read the book as much as me, you will certainly remember the refrain: “I love my house. I love my nest. In all the world my nest is best.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>Well, it’s an impossible challenge to pick the best nest from the photography exhibit \u003cb>The Botany of Nests\u003c/b> by Sharon Beals, now showing at the Helen Crocker Russell Library of Horticulture at the San Francisco Botanical Gardens. Every nest is a marvel of nature and architecture. Even Mr. and Mrs. Bird might get house envy.\u003c/p>\n\u003cp>\u003c/p>\u003cp>San Francisco-based Beals borrowed nests and eggs from collections at the California Academy of Sciences, the Museum of Vertebrate Zoology at UC Berkeley, and the Western Foundation of Vertebrate Zoology to create these highly detailed photographs. She presents them tenderly and dramatically, enlarged and set against black backgrounds to show off the workmanship and artfulness of these miniature wonders.\u003c/p>\n\u003cp>[ad fullwidth]\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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was little, I adored turning page after page of \u003cb>The Best Nest\u003c/b> by P.D. Eastman, as Mr. and Mrs. Bird gathered horsehair, mattress stuffing, and sweater string to create their new nest. If you read the book as much as me, you will certainly remember the refrain: “I love my house. I love my nest. In all the world my nest is best.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>Well, it’s an impossible challenge to pick the best nest from the photography exhibit \u003cb>The Botany of Nests\u003c/b> by Sharon Beals, now showing at the Helen Crocker Russell Library of Horticulture at the San Francisco Botanical Gardens. Every nest is a marvel of nature and architecture. Even Mr. and Mrs. Bird might get house envy.\u003c/p>\n\u003cp>\u003c/p>\u003cp>San Francisco-based Beals borrowed nests and eggs from collections at the California Academy of Sciences, the Museum of Vertebrate Zoology at UC Berkeley, and the Western Foundation of Vertebrate Zoology to create these highly detailed photographs. She presents them tenderly and dramatically, enlarged and set against black backgrounds to show off the workmanship and artfulness of these miniature wonders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>In April 2009, \u003ci>Gallery Crawl\u003c/i> visits with photographer Melanie Pullen about her latest series \u003cem>VIOLENT TIMES\u003c/em> at Stephen Wirtz Gallery. At Rena Bransten Gallery, we check out Tara Tucker’s \u003cem>FOREIGN RELATIONS\u003c/em> exhibition and Marci Washington’s \u003cem>DARK MIRROR\u003c/em>.\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/femmes-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>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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"headTitle": "Intelligent Design: [Print] Run at 21 Grand and Others | KQED",
"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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"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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"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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"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": {
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"reveal": {
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},
"rightnowish": {
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"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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},
"science-friday": {
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"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": {
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"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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},
"soldout": {
"id": "soldout",
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