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"content": "\u003cp>The series of drawings that make up \u003cb>Advice Portraits\u003c/b> by San Francisco artist Maria Forde makes you lean in a little closer.\u003c/p>\n\u003cp>For her exhibit, Forde turned to her friends as subjects and sources of wisdom. Surrounding each portrait is a piece of advice. One person encourages recycling, another suggests rooting for the underdog, and another passes along car advice from his mother. Each is drawn with a lightness and care that feels intimate.\u003c/p>\n\u003cp>Every subject exudes a quiet satisfaction, as if they have the answers Forde is looking for. The subjects are mostly young, and look like people you might pass on the street, stand next to on the bus or encounter in line at the taqueria.\u003c/p>\n\u003cp>That demographic contrasts the one depicted in Forde’s new zine, \u003cb>Longview\u003c/b> which was released in conjunction with the show. \u003cb>Longview\u003c/b> is a sweet ode to people who live in the same retirement home as Forde’s grandmother. Forde describes her inspiration to visit the retirement home in her own handwriting on the back cover: “Life is confusing and complicated and I feel sometimes like I’m lost. Like I wish someone could point out the way for me. You know, explain how it all works. Because who wants to feel like they are bumbling along making mistakes and not learning from them? Just walking in a circle and not getting anywhere. So, I thought I’d go ask some people who made it a long way in life.”\u003c/p>\n\u003cp>Their advice is simple, but feels elevated by the care Forde takes with her subjects. She draws every portrait in her carefully detailed style, and includes short but revealing snippets about their long life, and small details — like one woman’s red suit, another man’s vertical blinds, and another’s invitation to Forde to come back and visit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is a tenderness to Forde’s work that makes me thankful she chose to lavish so much care on her subjects. Their plainspoken advice makes me feel like everything is going to be okay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Advice Portraits\u003c/b> by Maria Forde is at Needles and Pens 3253 16th Street in San Francisco through April 26, 2009. For \u003ca href=\"http://www.needles-pens.com\">more information\u003c/a> visit needles-pens.com.\u003c/p>\n\n",
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"content": "\u003cp>The Berkeley Art Museum collaborated with an unusual team for its new show. Curators from BAM and the \u003ca href=\"http://www.mcasd.org/\">Museum of Contemporary Art San Diego\u003c/a> worked with \u003ca href=\"http://rareconservation.org/index.php\">Rare\u003c/a>, an international conservation organization, to send eight artists to culturally — and environmentally — threatened places around the world. Each artist chose a different World Heritage Site, and created work in response to his or her experience there.\u003c/p>\n\u003cp>Though the exhibition seems, from the outside, to put an emphasis on environmental conservation, the pieces are all really about people. And it makes for a richer show. Mark Dion visited Komodo National Park in Indonesia, home to Komodo dragons. His work isn’t about the giant deadly lizards or their habitat, but about the people who work in the park. In fact, he made it for the people who work in the park. Dion built a brightly-colored mobile cart stocked with small tools, office supplies, a first aid kit, and games and books for the park rangers. The cart stayed in Indonesia, and Dion constructed a replica to display at BAM. The cart powerfully conjures a place. I’ve never been to Komodo National Park (anyone interested in funding a \u003cb>KQED Arts\u003c/b> blog post on-location, please get in touch), but I could picture the cart sitting by the side of a dusty road on a hot day.\u003c/p>\n\u003cp>My favorite piece in the show was created by Bay Area artist Rigo 23 in Brazil’s Atlantic Forest South-East Reserves. A mobile in the shape of a bomb hovers over the gallery, dropping wooden and feather animals toward the museum-goers below. The effect is magical; the little animals look like a rain shower. Rigo 23 built this and his other piece, a nuclear submarine made of mud and sticks covered in small dolls, together with people living in the area. The locals helped him design and build the basket weapons, and helped imbue them with a sense of life and friendship.\u003c/p>\n\u003cp>Another collaboration with locals resulted in a new fundraising strategy: Xu Bing went to Kenya, where he worked with school children. The kids drew pictures of trees, which are on display at BAM, and which can be purchased at an \u003ca href=\"http://forestproject.net/auction/index.php\">auction site\u003c/a>. The money goes back to Kenya where it will fund reforestation. In this case, art really is inspiring conservation.\u003c/p>\n\u003cp>Other artists visited the Galápagos Islands, a mountainous region in China’s Yunnan Province, and North American glaciers. Diana Thater filmed animals and people watching animals in the iSimangaliso Wetland Park in South Africa. The video is frenetic and jittery. It jumps from giraffes to cars to zebras, but is best when it pauses for a breath and lingers on an elephant. It feels small compared to Iñigo Manglano-Ovalle’s \u003cb>Juggernaut\u003c/b>, a video showing the industrial saltworks near a whale preserve in Mexico. The camera slides along a massive salt plain. An impossibly large truck goes by. The rumble of the truck is so low, it’s as palpable as it is audible. I was enrapt. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pieces in this show all act as a sort of witness to disappearing cultures and places. Even though it’s not huge, the joy of creative collaboration and the sorrow of loss permeate the show, and make it feel full.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Human/Nature\u003c/b> runs through September 27, 2009 at the Berkeley Art Museum at 2626 Bancroft Way in Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Art Museum collaborated with an unusual team for its new show. Curators from BAM and the \u003ca href=\"http://www.mcasd.org/\">Museum of Contemporary Art San Diego\u003c/a> worked with \u003ca href=\"http://rareconservation.org/index.php\">Rare\u003c/a>, an international conservation organization, to send eight artists to culturally — and environmentally — threatened places around the world. Each artist chose a different World Heritage Site, and created work in response to his or her experience there.\u003c/p>\n\u003cp>Though the exhibition seems, from the outside, to put an emphasis on environmental conservation, the pieces are all really about people. And it makes for a richer show. Mark Dion visited Komodo National Park in Indonesia, home to Komodo dragons. His work isn’t about the giant deadly lizards or their habitat, but about the people who work in the park. In fact, he made it for the people who work in the park. Dion built a brightly-colored mobile cart stocked with small tools, office supplies, a first aid kit, and games and books for the park rangers. The cart stayed in Indonesia, and Dion constructed a replica to display at BAM. The cart powerfully conjures a place. I’ve never been to Komodo National Park (anyone interested in funding a \u003cb>KQED Arts\u003c/b> blog post on-location, please get in touch), but I could picture the cart sitting by the side of a dusty road on a hot day.\u003c/p>\n\u003cp>My favorite piece in the show was created by Bay Area artist Rigo 23 in Brazil’s Atlantic Forest South-East Reserves. A mobile in the shape of a bomb hovers over the gallery, dropping wooden and feather animals toward the museum-goers below. The effect is magical; the little animals look like a rain shower. Rigo 23 built this and his other piece, a nuclear submarine made of mud and sticks covered in small dolls, together with people living in the area. The locals helped him design and build the basket weapons, and helped imbue them with a sense of life and friendship.\u003c/p>\n\u003cp>Another collaboration with locals resulted in a new fundraising strategy: Xu Bing went to Kenya, where he worked with school children. The kids drew pictures of trees, which are on display at BAM, and which can be purchased at an \u003ca href=\"http://forestproject.net/auction/index.php\">auction site\u003c/a>. The money goes back to Kenya where it will fund reforestation. In this case, art really is inspiring conservation.\u003c/p>\n\u003cp>Other artists visited the Galápagos Islands, a mountainous region in China’s Yunnan Province, and North American glaciers. Diana Thater filmed animals and people watching animals in the iSimangaliso Wetland Park in South Africa. The video is frenetic and jittery. It jumps from giraffes to cars to zebras, but is best when it pauses for a breath and lingers on an elephant. It feels small compared to Iñigo Manglano-Ovalle’s \u003cb>Juggernaut\u003c/b>, a video showing the industrial saltworks near a whale preserve in Mexico. The camera slides along a massive salt plain. An impossibly large truck goes by. The rumble of the truck is so low, it’s as palpable as it is audible. I was enrapt. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In March 2009 \u003ci>Gallery Crawl\u003c/i> focuses on two San Francisco exhibitions of contemporary Chinese art: LIMN Gallery’s dual show, Ming Ren’s \u003cem>POETRY IN PAINTING\u003c/em> and \u003cem>CHINA AVANT GARDE – LANDSCAPE IN TRANSIT\u003c/em> and the Mark Wolfe Contemporary Art’s \u003cem>A (RE)TURN TO (RE)FORM\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/china-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>Do I need to be saved? If you drove around my neighborhood you might think so. Check-cashing stores promise to tide me over till next payday and prostitutes offer to give me the best night of my life. Urban offers of salvation are everywhere if you look for them, in both strip mall churches and stores with limited time discounts. Berkeley artist Jake Watling knows this. In the paintings and installation now on display at the Swarm Gallery, he depicts all manner of drive-by promises, from storefront signs to used tire outlets giving them away for free.\u003c/p>\n\u003cp>Using a palette heavy on Bart Simpson yellow, Watling mimics the crude signs he critiques, employing bright colors and a blunt drawing style to get across his point. And his point, or one of his points, seems to be this: Even in the most secular of places, in the cement-paved and gray landscapes of our cities, we are looking for ways to both save and be saved. Our desire for grace is not limited to the sanctified interiors of churches or the idyllic pastures of outdoor Baptist picnics.\u003c/p>\n\u003cp>Mixed among these sites are recurring characters: messianic hand wavers, a bandana-clad biker, and a mysterious figure wearing a tan grass skirt. The latter has a cone-shaped head and features similar to those of Jack, the mascot for Jack in the Box. But he’s not just a smiling face; he is meant to be a Polynesian symbol of life, death, and transitions. Watling deals more directly with these themes in a series of paintings that feels separate from his wood panels of urban signage. In the diptych \u003cb>Torodal\u003c/b>, he depicts a man shielding his face in a hospital bed, juxtaposing this scene with one of crowded church pews. A man waves his hands beside a sign screaming “Save” and a pious family of three sit with bibles in their laps. The question seems to be: What is all this evangelical preaching and promising worth if we’re all going to die anyway?\u003c/p>\n\u003cp>There are other artists on display at the Swarm Gallery. In fact, Watling’s work is part of a group show called \u003cb>Enter, Exit\u003c/b>. It includes sculpture and paintings by Jared Clark and a single sculpture by Joe Penrod. Clark’s enlarged to-do lists merge narrative with imagery. In them, the artist charts his obligations, connecting list items with a circuit of meandering lines and sticking a pin over every dotted “i.” Joe Penrod’s \u003cb>Orange and Blue\u003c/b> continues the urban theme initiated in Watling’s work with a column of orange cones that precariously rise to the ceiling.\u003c/p>\n\u003cp>The show’s literature asks a series of questions as its way of providing a curatorial theme: “When you walk into a gallery, what will happen in the time before you walk out? What will you see and connect to?” I guess this review’s focus is my own answer to that question. Clark’s and Penrod’s work was colorful and intriguing, but Watling’s paintings made me smile. And if preaching and promising don’t do any good in the face of death, then a smile is worth quite a bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Enter, Exit\u003c/b> is on display at Swarm Gallery, 560 Second Street, Oakland, through March 29, 2009. For more information, call 510-839-2787.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do I need to be saved? If you drove around my neighborhood you might think so. Check-cashing stores promise to tide me over till next payday and prostitutes offer to give me the best night of my life. Urban offers of salvation are everywhere if you look for them, in both strip mall churches and stores with limited time discounts. Berkeley artist Jake Watling knows this. In the paintings and installation now on display at the Swarm Gallery, he depicts all manner of drive-by promises, from storefront signs to used tire outlets giving them away for free.\u003c/p>\n\u003cp>Using a palette heavy on Bart Simpson yellow, Watling mimics the crude signs he critiques, employing bright colors and a blunt drawing style to get across his point. And his point, or one of his points, seems to be this: Even in the most secular of places, in the cement-paved and gray landscapes of our cities, we are looking for ways to both save and be saved. Our desire for grace is not limited to the sanctified interiors of churches or the idyllic pastures of outdoor Baptist picnics.\u003c/p>\n\u003cp>Mixed among these sites are recurring characters: messianic hand wavers, a bandana-clad biker, and a mysterious figure wearing a tan grass skirt. The latter has a cone-shaped head and features similar to those of Jack, the mascot for Jack in the Box. But he’s not just a smiling face; he is meant to be a Polynesian symbol of life, death, and transitions. Watling deals more directly with these themes in a series of paintings that feels separate from his wood panels of urban signage. In the diptych \u003cb>Torodal\u003c/b>, he depicts a man shielding his face in a hospital bed, juxtaposing this scene with one of crowded church pews. A man waves his hands beside a sign screaming “Save” and a pious family of three sit with bibles in their laps. The question seems to be: What is all this evangelical preaching and promising worth if we’re all going to die anyway?\u003c/p>\n\u003cp>There are other artists on display at the Swarm Gallery. In fact, Watling’s work is part of a group show called \u003cb>Enter, Exit\u003c/b>. It includes sculpture and paintings by Jared Clark and a single sculpture by Joe Penrod. Clark’s enlarged to-do lists merge narrative with imagery. In them, the artist charts his obligations, connecting list items with a circuit of meandering lines and sticking a pin over every dotted “i.” Joe Penrod’s \u003cb>Orange and Blue\u003c/b> continues the urban theme initiated in Watling’s work with a column of orange cones that precariously rise to the ceiling.\u003c/p>\n\u003cp>The show’s literature asks a series of questions as its way of providing a curatorial theme: “When you walk into a gallery, what will happen in the time before you walk out? What will you see and connect to?” I guess this review’s focus is my own answer to that question. Clark’s and Penrod’s work was colorful and intriguing, but Watling’s paintings made me smile. And if preaching and promising don’t do any good in the face of death, then a smile is worth quite a bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Central Valley town of Laton was struggling even before the current economic crisis. But an eight-month partnership with a Los Angeles art school is invigorating the community. Students from Otis College of Art and Design have been coming to Laton to take photos, shoot video, and work with locals to create original works of art. Now, the townspeople and students are getting ready to show off their work by transforming downtown into a multimedia art exhibit. \u003cbr>\u003ca href=\"http://www.californiareport.org/slideshows/latonlive/\">View Photo Slideshow\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A friend recently compared my apartment to her grade school notebook covered in stickers because my walls are plastered with colorful things I’ve made. The stuff is just stored there, looking at me, constantly nagging me to find it another home. But for some artists, the homes they occupy become works of art themselves, with no suggestion of a need for a removal. The interior might be painted with murals, the stairway made of shells, or the yard covered in handcrafted wooden dolls with tape recorders in their mouths. It is not surprising to discover that more than a handful of homes like these have existed within the borders of our dear California — land of fruits, nuts, and artists.\u003c/p>\n\u003cp>For the Museum of Craft and Folk Art’s \u003cb>Inside/Outside\u003c/b> exhibition of artist environments, Mike Shine was commissioned to create what he calls a 90% true-to-life replica of his home in Bolinas where figures inspired by mythology, philosophy and the devil roam free on painted walls and doors. A fireplace crackles in the cozy, orange, 70s mod-style room, complete with lava lamp, an 8-track tape collection, butterfly chairs, and a wolf-man sitting at the kitchen table, beer in hand. You can get comfy in there. There’s a shelf of books, and Shine invites you to take a load off and create some art in an available sketchbook. I drew an owl. The shack’s exterior also remains true to the original; a surfboard leans against the wall next to a set of barbecue tools. Though the doors don’t open, and the loft ladder leads to nowhere, the remake gives a genuine sense of Shine’s real home — documented on \u003ca href=\"http://www.shinelounge.com\">his Web site\u003c/a> — where his life and art intermingle just the way he likes it. The story of how he met his wife was one of the first things he painted on the walls, in his signature surf-style font. Anyone with a fondness for the 70s aesthetic will love his work. Though my grandmother’s house wasn’t orange, Shine’s installation made me think of her bungalow in rural Pennsylvania. She called it The Teepee and everything inside was blue or purple. When we visited she’d pick dandelions and weeds for “health shakes,” and practice acupuncture on our little feet, while we’d drink \u003ca href=\"http://en.wikipedia.org/wiki/Postum\">Postum\u003c/a> out of blue-speckled mugs.\u003c/p>\n\u003cp>Legendary twentieth-century California folk art environments are documented in the exhibition with trios of neatly mounted photographs that tell the stories of places like \u003ca href=\"http://en.wikipedia.org/wiki/Nitt_Witt_Ridge\">Nitt Witt Ridge\u003c/a> in Cambria and the \u003ca href=\"http://en.wikipedia.org/wiki/Watts_towers\">Watts Towers\u003c/a>in L.A — places where artists with a repurposing knack used hoards of recycled materials to create their kitschy castles.\u003c/p>\n\u003cp>Perhaps the most intriguing folk art environment was Calvin and Ruby Black’s \u003cb>Possum Trot\u003c/b> where the couple made dolls from Sugar Pine and Redwood scraps. Carved by Calvin and dressed in Ruby’s handmade frocks, the female dolls were stand-ins for the children the couple didn’t have. Calvin rigged the dolls with tape recorders and DIY animatronics and put on a roadside show for twenty-five cents admission, hiding backstage playing guitar and singing in lady voices. This \u003ca href=\"http://www.folkstreams.net/film,105\">1977 film\u003c/a> provides the essence of Calvin and Ruby’s endearing, albeit peculiar reality.\u003c/p>\n\u003cp>In regards to my own artist environment, I probably won’t get my security deposit back due to all the nail holes and paint splatters. But blank walls make me uncomfortable, and my hands like to keep busy, so my home is naturally covered in arts and crafts. I imagine that many artists — not just those pegged as folk artists — experience a similar distaste for environmental emptiness and choose to gradually resolve the issue by hand, some more obsessively than others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Inside/Outside: Artist Environments\u003c/b> is on view at the \u003ca href=\"http://www.mocfa.org\">Museum of Craft and Folk Art\u003c/a> through May 24th, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A friend recently compared my apartment to her grade school notebook covered in stickers because my walls are plastered with colorful things I’ve made. The stuff is just stored there, looking at me, constantly nagging me to find it another home. But for some artists, the homes they occupy become works of art themselves, with no suggestion of a need for a removal. The interior might be painted with murals, the stairway made of shells, or the yard covered in handcrafted wooden dolls with tape recorders in their mouths. It is not surprising to discover that more than a handful of homes like these have existed within the borders of our dear California — land of fruits, nuts, and artists.\u003c/p>\n\u003cp>For the Museum of Craft and Folk Art’s \u003cb>Inside/Outside\u003c/b> exhibition of artist environments, Mike Shine was commissioned to create what he calls a 90% true-to-life replica of his home in Bolinas where figures inspired by mythology, philosophy and the devil roam free on painted walls and doors. A fireplace crackles in the cozy, orange, 70s mod-style room, complete with lava lamp, an 8-track tape collection, butterfly chairs, and a wolf-man sitting at the kitchen table, beer in hand. You can get comfy in there. There’s a shelf of books, and Shine invites you to take a load off and create some art in an available sketchbook. I drew an owl. The shack’s exterior also remains true to the original; a surfboard leans against the wall next to a set of barbecue tools. Though the doors don’t open, and the loft ladder leads to nowhere, the remake gives a genuine sense of Shine’s real home — documented on \u003ca href=\"http://www.shinelounge.com\">his Web site\u003c/a> — where his life and art intermingle just the way he likes it. The story of how he met his wife was one of the first things he painted on the walls, in his signature surf-style font. Anyone with a fondness for the 70s aesthetic will love his work. Though my grandmother’s house wasn’t orange, Shine’s installation made me think of her bungalow in rural Pennsylvania. She called it The Teepee and everything inside was blue or purple. When we visited she’d pick dandelions and weeds for “health shakes,” and practice acupuncture on our little feet, while we’d drink \u003ca href=\"http://en.wikipedia.org/wiki/Postum\">Postum\u003c/a> out of blue-speckled mugs.\u003c/p>\n\u003cp>Legendary twentieth-century California folk art environments are documented in the exhibition with trios of neatly mounted photographs that tell the stories of places like \u003ca href=\"http://en.wikipedia.org/wiki/Nitt_Witt_Ridge\">Nitt Witt Ridge\u003c/a> in Cambria and the \u003ca href=\"http://en.wikipedia.org/wiki/Watts_towers\">Watts Towers\u003c/a>in L.A — places where artists with a repurposing knack used hoards of recycled materials to create their kitschy castles.\u003c/p>\n\u003cp>Perhaps the most intriguing folk art environment was Calvin and Ruby Black’s \u003cb>Possum Trot\u003c/b> where the couple made dolls from Sugar Pine and Redwood scraps. Carved by Calvin and dressed in Ruby’s handmade frocks, the female dolls were stand-ins for the children the couple didn’t have. Calvin rigged the dolls with tape recorders and DIY animatronics and put on a roadside show for twenty-five cents admission, hiding backstage playing guitar and singing in lady voices. This \u003ca href=\"http://www.folkstreams.net/film,105\">1977 film\u003c/a> provides the essence of Calvin and Ruby’s endearing, albeit peculiar reality.\u003c/p>\n\u003cp>In regards to my own artist environment, I probably won’t get my security deposit back due to all the nail holes and paint splatters. But blank walls make me uncomfortable, and my hands like to keep busy, so my home is naturally covered in arts and crafts. I imagine that many artists — not just those pegged as folk artists — experience a similar distaste for environmental emptiness and choose to gradually resolve the issue by hand, some more obsessively than others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Given the number of altered texts present at \u003cb>Ex Libro\u003c/b>, Lisa Kokin’s current show at the \u003ca href=\"http://www.donnaseagergallery.com\" target=\"offsite\" rel=\"noopener\">Donna Seager Gallery\u003c/a>, one could joke whether it’s a show for text-ophiles or for text-ophobes. \u003cb>Ex Libro\u003c/b> is full of pulped paper and disemboweled, reconstructed books: Dr. Seuss-like hoodoo structures made out of dictionary pages, which in their second life look like larger versions of those little balls of paper that get stuck in the back pocket of your jeans when washed; the covers of pulp Westerns with their images obscured by tangled webs of bookbinder’s thread; and pretty much anything else you could imagine that might be made “from the book,” which is what \u003cb>Ex Libro\u003c/b> means.\u003c/p>\n\u003cp>The show — 2 years in the making — is large, with a lot of physical content that is found on the walls, installed on the gallery floor or hung from the ceiling, and on the back table. The latter category includes “Flotsam and Jetsam,” a book made of two layers of bubble wrap with debris trapped in the bubbles, including rubber bands, shredded money, and a telegram about the death of a loved one. The layers of bubble wrap are held together with a zipper, leaving you with four options: allow the collection to stay in place and enjoy the sounds it makes as you flip the pages, unzip it carefully and see what spills out, pop the dang thing, or do nothing.\u003c/p>\n\u003cp>I spent a lot of time with “Flotsam and Jetsam,” which I found quite moving, only to discover after leaving that it is actually not part of the current body of work, but something from Kokin’s back catalogue.\u003c/p>\n\u003cp>The rest of the show involves a lot of visual punning. A book called “How to Think” has been gutted and reshaped to look like a tangled set of synapses, while another, “The Bride’s Dowry”, has a hole cut on either side of its cover through which a pear-shaped, reassembled ball of text pokes its pregnant belly (or bellies, actually). “Sew Not in Anger” has been sewn shut and stabbed with stitches that will leave home ec teachers groaning and medical practitioners nervous.\u003c/p>\n\u003cp>Not every piece is a one-liner, and the themes can be quite serious — Kokin, a Bay Area artist, often deals with identity, memory, and politics — but at times things feel too tidy. Kokin sticks to a one-to-one ratio, with the physical contents she takes from each book generally staying of a piece, including the titles. I’d love to see her work in a less directly illustrative manner. It feels disingenuous for the end results of deconstruction to be so neatly transformed, although that’s probably because I’m the type of text-ophile that wants things left muddy and ambiguous, a little unclear as to what the signifier might be pointing to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ex Libro\u003c/b> runs until March 31, 2009. Lisa Kokin will be giving an \u003ca href=\"http://www.donnaseagergallery.com/current_exhibition/index.htm\" target=\"offsite\" rel=\"noopener\">artist’s talk\u003c/a> at the gallery on Sunday, March 8, 2009, at 3 pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the number of altered texts present at \u003cb>Ex Libro\u003c/b>, Lisa Kokin’s current show at the \u003ca href=\"http://www.donnaseagergallery.com\" target=\"offsite\" rel=\"noopener\">Donna Seager Gallery\u003c/a>, one could joke whether it’s a show for text-ophiles or for text-ophobes. \u003cb>Ex Libro\u003c/b> is full of pulped paper and disemboweled, reconstructed books: Dr. Seuss-like hoodoo structures made out of dictionary pages, which in their second life look like larger versions of those little balls of paper that get stuck in the back pocket of your jeans when washed; the covers of pulp Westerns with their images obscured by tangled webs of bookbinder’s thread; and pretty much anything else you could imagine that might be made “from the book,” which is what \u003cb>Ex Libro\u003c/b> means.\u003c/p>\n\u003cp>The show — 2 years in the making — is large, with a lot of physical content that is found on the walls, installed on the gallery floor or hung from the ceiling, and on the back table. The latter category includes “Flotsam and Jetsam,” a book made of two layers of bubble wrap with debris trapped in the bubbles, including rubber bands, shredded money, and a telegram about the death of a loved one. The layers of bubble wrap are held together with a zipper, leaving you with four options: allow the collection to stay in place and enjoy the sounds it makes as you flip the pages, unzip it carefully and see what spills out, pop the dang thing, or do nothing.\u003c/p>\n\u003cp>I spent a lot of time with “Flotsam and Jetsam,” which I found quite moving, only to discover after leaving that it is actually not part of the current body of work, but something from Kokin’s back catalogue.\u003c/p>\n\u003cp>The rest of the show involves a lot of visual punning. A book called “How to Think” has been gutted and reshaped to look like a tangled set of synapses, while another, “The Bride’s Dowry”, has a hole cut on either side of its cover through which a pear-shaped, reassembled ball of text pokes its pregnant belly (or bellies, actually). “Sew Not in Anger” has been sewn shut and stabbed with stitches that will leave home ec teachers groaning and medical practitioners nervous.\u003c/p>\n\u003cp>Not every piece is a one-liner, and the themes can be quite serious — Kokin, a Bay Area artist, often deals with identity, memory, and politics — but at times things feel too tidy. Kokin sticks to a one-to-one ratio, with the physical contents she takes from each book generally staying of a piece, including the titles. I’d love to see her work in a less directly illustrative manner. It feels disingenuous for the end results of deconstruction to be so neatly transformed, although that’s probably because I’m the type of text-ophile that wants things left muddy and ambiguous, a little unclear as to what the signifier might be pointing to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ex Libro\u003c/b> runs until March 31, 2009. Lisa Kokin will be giving an \u003ca href=\"http://www.donnaseagergallery.com/current_exhibition/index.htm\" target=\"offsite\" rel=\"noopener\">artist’s talk\u003c/a> at the gallery on Sunday, March 8, 2009, at 3 pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I don’t know if the adjectives “loud” and “visually spare” usually come to mind when you think of Paul McCarthy, but after seeing \u003ca>\u003cb>Low Life Slow Life: Part 2\u003c/b>\u003c/a> at the Wattis this month, I’m stuck with them. The exhibit is not of McCarthy’s works, but rather of works chosen by McCarthy in relation to his “memories of his own career.” \u003cb>Part 1\u003c/b>, which showed last year at the Wattis, focused on work from his undergraduate and graduate days, while \u003cb>Part 2\u003c/b>, which is on view until May 30, 2008, showcases works from the 1970s through the present.\u003c/p>\n\u003cp>It’s a small show, both in terms of the number of pieces (about 12) and the number of artists (about 7). And thank god for small favors, because it’s not an easy show. By this I mean that while many pieces involve humor, most require something from you other than pleasure in reception, which can make the overall experience challenging, not to mention demanding and even disagreeable.\u003c/p>\n\u003cp>I find it interesting that the show literature refuses to assign the phrase “influences” to McCarthy’s selections; rather, the brochure stresses that McCarthy’s choices are based on personal “recollections.” I think this might be Artspeak for “Warning: this exhibit contains neither explanatory text nor an explicit, chronological flowchart of how the works included relate to McCarthy’s bigger project.” The guest is left to the mercy of the pieces, which is fine by me, although I have to say that most of the pieces do get more interesting after a little additional research. I highly recommend everyone look into Howard Fried’s filming techniques for \u003cb>Sea Sell\u003c/b>.\u003c/p>\n\u003cp>For me, the sweet spot of the exhibit happens directly after entering the first gallery, as your attention bounces between a giant, worried-looking \u003ca href=\"http://www.hauserwirth.com/exhibitions/25/maria-lassnig/view/\">Maria Lassnig\u003c/a> self-portrait (“Doubts,” 2004) that uses chartreuse in its color palette; a series of large, altered photographs of Disneyland, focusing on social spectacle and the Matterhorn; and a video piece by Guy Debord (\u003cb>We Spin Around the Night and Are Consumed by Fire\u003c/b>, 1978) that juxtaposes images of commodities, consumption, politics and affluence with Debord’s \u003ca>narration\u003c/a>. Body, spectacle, performance, excess and mess: everything I know or need to know about McCarthy’s aesthetic and interests is present in this corner, and I like the juxtaposed delivery style.\u003c/p>\n\u003cp>Wedded to this is Howard Fried’s video, \u003cb>Sea Sell Sea Sick at Saw Sea Soar, Sea\u003c/b> (1971), the soundtrack of which dominates the first gallery — \u003ci>“You don’t want tomato juice, you don’t want chicken salad…”\u003c/i> — only to be replaced by the soundtrack to Dennis Oppenheim’s \u003cb>Wishing Well\u003c/b> (1973/2009) in the second. \u003ci>“Sink back. Sink. Sink back down.”\u003c/i>. I found the second gallery less interesting, although it might have been because the piece that takes up the most physical space (Fried’s \u003cb>All My Dirty Blue Clothes\u003c/b>) is a performance shell: debris no longer activated by a human body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy’s scrapbooking is at its best when the viewer can move with it in time and understand how the pieces activate each other, instead of looking at object-like remains of actions that have already happened. For the same reason, I would say that even if you decide to skip the exhibit, you should definitely look into the \u003ca href=\"http://www.wattis.org/calendar/\">film screenings\u003c/a> that McCarthy has selected. For the next two months, there will be showings of works by the likes of Michael Snow, Valie Export, Bruce Nauman and Kurt Kren, amongst others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul McCarthy’s \u003cb>Low Life Slow Life, Part 2\u003c/b> is at CCA’s Wattis Institute through May 30, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy’s scrapbooking is at its best when the viewer can move with it in time and understand how the pieces activate each other, instead of looking at object-like remains of actions that have already happened. For the same reason, I would say that even if you decide to skip the exhibit, you should definitely look into the \u003ca href=\"http://www.wattis.org/calendar/\">film screenings\u003c/a> that McCarthy has selected. For the next two months, there will be showings of works by the likes of Michael Snow, Valie Export, Bruce Nauman and Kurt Kren, amongst others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul McCarthy’s \u003cb>Low Life Slow Life, Part 2\u003c/b> is at CCA’s Wattis Institute through May 30, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I thought I was too old for bedtime stories. For enchanted forests and little boys who tell tales no one believes. But then I heard such a story, last month, in a quiet San Francisco art gallery, in a white walled room covered with paintings of gnarled wood and golden fountains. I was rapt, waiting to hear how it would turn out. The story ended in the very gallery where I sat, in a room full of people, as artist Neil LeDoux explained the genesis of the work hanging in the exhibit titled \u003cb>The Fountain of Giant Teardrops\u003c/b>, on display through February 28th at the Silverman Gallery.\u003c/p>\n\u003cp>LeDoux was telling Berkeley Art Museum director Larry Rinder the story of the day when, as a child, he discovered a mystical fountain deep in the Louisiana woods. He ran home and told his family, but no one believed him. He brought people back to the spot, but all they saw were trees. LeDoux, an undergraduate student at California College of the Arts, didn’t talk about the fountain again for years. And he certainly didn’t make drawings about it. Until now. “If not at an art college in San Francisco, where else would you address it?” he asked. “In San Francisco, you can tell someone a story like this and they don’t think you’re crazy.” The room full of people, all listening intently, seemed to prove his point.\u003c/p>\n\u003cp>LeDoux and Rinder’s conversation covered the artist’s influences (Duchamp’s \u003cb>Fountain\u003c/b> was a major one); working process (he produced this body of work in a consumed frenzy, putting in 15 to 18 hour days over a period of two weeks); and the fountains’ hermaphroditic qualities (“It’s a phallus made of vaginas,” Rinder observed). What they didn’t cover was why LeDoux’s story is engrossing, and why the art it inspired deserves attention. No longer lulled by fairytale stories of boys chasing trees, but awake and alert, I want to address those things here.\u003c/p>\n\u003cp>Most would agree that art relies on a larger narrative, a conceptual back-story, for its meaning and import. Even when not intentionally symbolic, a painting is always more than paint on a canvas. It is a signifier of ideas, cultural values, and often, the artist’s own biography. I think much of the general public’s frustration toward contemporary art comes from an awareness of this meaning’s existence coupled with an inability to decipher it.\u003c/p>\n\u003cp>Enter LeDoux. Rarely do artists offer such a neatly packaged, easily communicated story as he. Rather than vague allusions, LeDoux presents a cohesive narrative that satisfies our desire to “understand” his art. The story itself is a good one. Against the backdrop of the lush and mysterious woods of the American south, the artist acts as both visionary and outsider. The tale is particularly pleasing to San Francisco ears, as LeDoux’s westward migration and subsequent self-actualization satisfy our collective superiority complex: Of course the artist had to come to northern California to realize the validity of his childhood visions and learn to express his artistic truth. Doesn’t everybody?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although intriguing, the actual artwork felt secondary to all this. Rendered in a limited palette of gold, paper-bag brown, and black, LeDoux’s fountains are human-sized. They are filled with repeated cascading forms that mimic the waterfall of his memory. They simultaneously cave in and protrude; appear solid and fluid; illuminated and flat. You try to grasp at them, but ultimately fail. In that way, they mimic memory itself — we can recapture the past only up to a point. After that, it all slips through our fingers.\u003c/p>\n\u003cp>This elusive quality fits well into LeDoux’s story, which, as should be obvious by now, felt like the focal point of the exhibit. I still can’t decide if I found it enthralling or disingenuous; perhaps a little of both. (The \u003ci>San Francisco Chronicle\u003c/i>‘s Kenneth Baker even suggested that LeDoux had created an \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/02/07/DDO515OA5H.DTL\" target=\"offsite\" rel=\"noopener\">“autobiographical myth”\u003c/a> to link disparate works.) But the thing is, I like stories. Maybe it doesn’t matter what purpose they’re put toward. So go ahead, spin me a yarn. Tell me tales of lost little boys nobody believes and fountains in the forest. You can call it art, I don’t mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Fountain of Giant Teardrops\u003c/b> runs through February 28, 2009 at the \u003ca href=\"http://www.silverman-gallery.com/index4.html\" target=\"offsite\" rel=\"noopener\">Silverman Gallery\u003c/a>, 804 Sutter Street, San Francisco. For more information, call 415-255-9508.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I thought I was too old for bedtime stories. For enchanted forests and little boys who tell tales no one believes. But then I heard such a story, last month, in a quiet San Francisco art gallery, in a white walled room covered with paintings of gnarled wood and golden fountains. I was rapt, waiting to hear how it would turn out. The story ended in the very gallery where I sat, in a room full of people, as artist Neil LeDoux explained the genesis of the work hanging in the exhibit titled \u003cb>The Fountain of Giant Teardrops\u003c/b>, on display through February 28th at the Silverman Gallery.\u003c/p>\n\u003cp>LeDoux was telling Berkeley Art Museum director Larry Rinder the story of the day when, as a child, he discovered a mystical fountain deep in the Louisiana woods. He ran home and told his family, but no one believed him. He brought people back to the spot, but all they saw were trees. LeDoux, an undergraduate student at California College of the Arts, didn’t talk about the fountain again for years. And he certainly didn’t make drawings about it. Until now. “If not at an art college in San Francisco, where else would you address it?” he asked. “In San Francisco, you can tell someone a story like this and they don’t think you’re crazy.” The room full of people, all listening intently, seemed to prove his point.\u003c/p>\n\u003cp>LeDoux and Rinder’s conversation covered the artist’s influences (Duchamp’s \u003cb>Fountain\u003c/b> was a major one); working process (he produced this body of work in a consumed frenzy, putting in 15 to 18 hour days over a period of two weeks); and the fountains’ hermaphroditic qualities (“It’s a phallus made of vaginas,” Rinder observed). What they didn’t cover was why LeDoux’s story is engrossing, and why the art it inspired deserves attention. No longer lulled by fairytale stories of boys chasing trees, but awake and alert, I want to address those things here.\u003c/p>\n\u003cp>Most would agree that art relies on a larger narrative, a conceptual back-story, for its meaning and import. Even when not intentionally symbolic, a painting is always more than paint on a canvas. It is a signifier of ideas, cultural values, and often, the artist’s own biography. I think much of the general public’s frustration toward contemporary art comes from an awareness of this meaning’s existence coupled with an inability to decipher it.\u003c/p>\n\u003cp>Enter LeDoux. Rarely do artists offer such a neatly packaged, easily communicated story as he. Rather than vague allusions, LeDoux presents a cohesive narrative that satisfies our desire to “understand” his art. The story itself is a good one. Against the backdrop of the lush and mysterious woods of the American south, the artist acts as both visionary and outsider. The tale is particularly pleasing to San Francisco ears, as LeDoux’s westward migration and subsequent self-actualization satisfy our collective superiority complex: Of course the artist had to come to northern California to realize the validity of his childhood visions and learn to express his artistic truth. Doesn’t everybody?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although intriguing, the actual artwork felt secondary to all this. Rendered in a limited palette of gold, paper-bag brown, and black, LeDoux’s fountains are human-sized. They are filled with repeated cascading forms that mimic the waterfall of his memory. They simultaneously cave in and protrude; appear solid and fluid; illuminated and flat. You try to grasp at them, but ultimately fail. In that way, they mimic memory itself — we can recapture the past only up to a point. After that, it all slips through our fingers.\u003c/p>\n\u003cp>This elusive quality fits well into LeDoux’s story, which, as should be obvious by now, felt like the focal point of the exhibit. I still can’t decide if I found it enthralling or disingenuous; perhaps a little of both. (The \u003ci>San Francisco Chronicle\u003c/i>‘s Kenneth Baker even suggested that LeDoux had created an \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/02/07/DDO515OA5H.DTL\" target=\"offsite\" rel=\"noopener\">“autobiographical myth”\u003c/a> to link disparate works.) But the thing is, I like stories. Maybe it doesn’t matter what purpose they’re put toward. So go ahead, spin me a yarn. Tell me tales of lost little boys nobody believes and fountains in the forest. You can call it art, I don’t mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Fountain of Giant Teardrops\u003c/b> runs through February 28, 2009 at the \u003ca href=\"http://www.silverman-gallery.com/index4.html\" target=\"offsite\" rel=\"noopener\">Silverman Gallery\u003c/a>, 804 Sutter Street, San Francisco. For more information, call 415-255-9508.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Prints of Andy Warhol",
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"content": "\u003cp>In the financial press, it is customary for reporters to disclose their holdings in a stock before writing or talking about it. And so, I must preface this review of \u003cb>The Prints of Andy Warhol\u003c/b>, now through May 31 at the San Jose Museum of Art, by revealing my stake in four pieces by the pop master. They were purchased a couple of years ago from Barney’s during a holiday-season sales promotion. The pieces are actual cans of Campbell’s tomato soup, which the soup maker, in cooperation with the Andy Warhol Foundation, produced in a “limited edition.” The labels of these special cans have been re-imagined in four of Warhol’s most famous color combinations: green and red, gold and yellow, pink and orange, aqua and indigo. Each can is “signed,” posthumously, by the artist. I ordered one of each online at $12 a can, but by the time they arrived and I realized what fun gifts they would make, the edition had sold out.\u003c/p>\n\u003cp>I mention my foray into the rarified world of big-time art collecting because I have a strong feeling that Warhol would have liked these signed soup cans and their distribution via a clothing retailer every bit as much as the flood of exhibitions of his work in traditional art outlets. In addition to the show in San Jose, a collection of pop-music pieces just opened at the de Young and another devoted to portraits of Jews just closed at the Jewish Museum. As objects of value, the cans will never be worth as much as any of the more than 60 screen prints and lithographs on view at the San Jose Museum of Art (a recent check on eBay showed two cans languishing with no bids, even though the starting price was half of what I paid for just one). But as objects that speak to Warhol’s interest in creating artworks that at once mirror and are examples of popular culture, the soup cans at Barney’s were right on the money, although it’s easy to imagine Warhol preferring WalMart.\u003c/p>\n\u003cp>Dutifully, the exhibition makes a case for Warhol’s technical virtuosity with screen prints and lithos, but you don’t go to a Warhol exhibition for a clinic on print making, or at least I don’t. It’s his choice of subject that matters, as well as what he does to the images of his affection. His \u003cb>Flowers\u003c/b> from 1964, for example, are the opposite of sexualized and romantic flowers of the popular imagination. Instead of beautiful and voluptuous, Warhol’s flowers are plain and ordinary; two of the prints in the San Jose show are rendered in plain black and white. They are, literally, wallflowers. Conversely, Warhol’s dollars signs from 1982 are the opposite of mere symbols used to describe sums attached to commerce and trade. They are fun, happy and colorful, practically jumping and vibrating within the confines of their frames.\u003c/p>\n\u003cp>Warhol’s dollar signs are also a terrific commentary on the art market of which Warhol was such an important, complicit and knowing player. The first time I saw these pieces was in 1982 when they debuted at the Castelli Gallery in Soho. On that January day, I had been traipsing in and out of gallery after gallery, each of which was hurling its best and priciest art products at an art-going public that was positively giddy for the art boom exploding all around them. By 1982, Warhol was considered old school, a circumstance he would soon remedy by taking up with rising art star Jean-Michel Basquiat. But here he was at venerable Castelli, riffing on the fizz of the overheated scene with paintings and prints of all sizes and colors to give the people exactly what they seemed to want: symbols of wealth to decorate their walls.\u003c/p>\n\u003cp>Some of the pieces in the San Jose show, like the three prints from the \u003cb>Hammer and Sickle\u003c/b> series from 1977, remind us of Warhol’s roots as a draftsman. Others celebrate his skills as a colorist. The six portraits of Marilyn Monroe, each more gloriously garish than the next, take our experience and expectation of the star’s beauty past the point of no return, and a good deal beyond. And then there were print series that you had to assume the artist and his assistants were simply cranking out to pay the bills. His \u003cb>Ads\u003c/b> from 1985 and \u003cb>Details of Renaissance Paintings\u003c/b> from 1984 come to mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But not all of Warhol’s late work (he died in 1987) was without virtue. Indeed, his series of \u003cb>Camouflage\u003c/b> prints from that same year distilled many of the artist’s interests in shape and color and line to their almost-abstract essence. The San Jose show gives us eight examples from this series to ponder. My guess is that these last Warhols, which are not dependent on one’s knowledge of or affection for mid 20th-century celebrities, are probably more inspirational to younger viewers than endless screen prints of black bean, consommé and green pea soup. The generic, almost computer-generated appearance of the \u003cb>Camouflage\u003c/b> prints are all surface with, ironically, nothing to hide, except maybe the fact that some people in the art world wouldn’t give them a second look if they weren’t identified as Warhols.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Prints of Andy Warhol\u003c/b> runs through May 31, 2009 at the San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the financial press, it is customary for reporters to disclose their holdings in a stock before writing or talking about it. And so, I must preface this review of \u003cb>The Prints of Andy Warhol\u003c/b>, now through May 31 at the San Jose Museum of Art, by revealing my stake in four pieces by the pop master. They were purchased a couple of years ago from Barney’s during a holiday-season sales promotion. The pieces are actual cans of Campbell’s tomato soup, which the soup maker, in cooperation with the Andy Warhol Foundation, produced in a “limited edition.” The labels of these special cans have been re-imagined in four of Warhol’s most famous color combinations: green and red, gold and yellow, pink and orange, aqua and indigo. Each can is “signed,” posthumously, by the artist. I ordered one of each online at $12 a can, but by the time they arrived and I realized what fun gifts they would make, the edition had sold out.\u003c/p>\n\u003cp>I mention my foray into the rarified world of big-time art collecting because I have a strong feeling that Warhol would have liked these signed soup cans and their distribution via a clothing retailer every bit as much as the flood of exhibitions of his work in traditional art outlets. In addition to the show in San Jose, a collection of pop-music pieces just opened at the de Young and another devoted to portraits of Jews just closed at the Jewish Museum. As objects of value, the cans will never be worth as much as any of the more than 60 screen prints and lithographs on view at the San Jose Museum of Art (a recent check on eBay showed two cans languishing with no bids, even though the starting price was half of what I paid for just one). But as objects that speak to Warhol’s interest in creating artworks that at once mirror and are examples of popular culture, the soup cans at Barney’s were right on the money, although it’s easy to imagine Warhol preferring WalMart.\u003c/p>\n\u003cp>Dutifully, the exhibition makes a case for Warhol’s technical virtuosity with screen prints and lithos, but you don’t go to a Warhol exhibition for a clinic on print making, or at least I don’t. It’s his choice of subject that matters, as well as what he does to the images of his affection. His \u003cb>Flowers\u003c/b> from 1964, for example, are the opposite of sexualized and romantic flowers of the popular imagination. Instead of beautiful and voluptuous, Warhol’s flowers are plain and ordinary; two of the prints in the San Jose show are rendered in plain black and white. They are, literally, wallflowers. Conversely, Warhol’s dollars signs from 1982 are the opposite of mere symbols used to describe sums attached to commerce and trade. They are fun, happy and colorful, practically jumping and vibrating within the confines of their frames.\u003c/p>\n\u003cp>Warhol’s dollar signs are also a terrific commentary on the art market of which Warhol was such an important, complicit and knowing player. The first time I saw these pieces was in 1982 when they debuted at the Castelli Gallery in Soho. On that January day, I had been traipsing in and out of gallery after gallery, each of which was hurling its best and priciest art products at an art-going public that was positively giddy for the art boom exploding all around them. By 1982, Warhol was considered old school, a circumstance he would soon remedy by taking up with rising art star Jean-Michel Basquiat. But here he was at venerable Castelli, riffing on the fizz of the overheated scene with paintings and prints of all sizes and colors to give the people exactly what they seemed to want: symbols of wealth to decorate their walls.\u003c/p>\n\u003cp>Some of the pieces in the San Jose show, like the three prints from the \u003cb>Hammer and Sickle\u003c/b> series from 1977, remind us of Warhol’s roots as a draftsman. Others celebrate his skills as a colorist. The six portraits of Marilyn Monroe, each more gloriously garish than the next, take our experience and expectation of the star’s beauty past the point of no return, and a good deal beyond. And then there were print series that you had to assume the artist and his assistants were simply cranking out to pay the bills. His \u003cb>Ads\u003c/b> from 1985 and \u003cb>Details of Renaissance Paintings\u003c/b> from 1984 come to mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not all of Warhol’s late work (he died in 1987) was without virtue. Indeed, his series of \u003cb>Camouflage\u003c/b> prints from that same year distilled many of the artist’s interests in shape and color and line to their almost-abstract essence. The San Jose show gives us eight examples from this series to ponder. My guess is that these last Warhols, which are not dependent on one’s knowledge of or affection for mid 20th-century celebrities, are probably more inspirational to younger viewers than endless screen prints of black bean, consommé and green pea soup. The generic, almost computer-generated appearance of the \u003cb>Camouflage\u003c/b> prints are all surface with, ironically, nothing to hide, except maybe the fact that some people in the art world wouldn’t give them a second look if they weren’t identified as Warhols.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Prints of Andy Warhol\u003c/b> runs through May 31, 2009 at the San Jose Museum of Art. For \u003ca href=\"http://www.sjmusart.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sjmusart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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