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"content": "\u003cp>No art world celebrity is safe from the comical jabs delivered by Laura Paperina in her new exhibit at LincArt, \u003cb>Ridiculous Things\u003c/b>. Her brightly colored cartoon style is easy to compare to early Simpsons characters, especially because she included a picture of Homer Simpson killing Kenny from South Park. Other pop icons are fair game for Paperina, such as the Desperate Housewives and Steve Jobs, but the majority of her subjects are blue chip art-related.\u003c/p>\n\u003cp>Large-scale highlights include images of Barry McGee beheaded by one of his own signature blue characters, Banksy with rats-for-brains (a nod to his street art staple, a stenciled rat), and Takashi Murakami’s Mickey-mocking brain child, \u003ca href=\"http://lincart.com/artists/album13/the_end_of_murakami_dob?full=1\" target=\"offsite\" rel=\"noopener\">DOB\u003c/a>, sweating to death. In a row of smaller paintings, the dots Damien Hirst is known for painting cover his nude body like a pox, and his infamous diamond skull sculpture is rendered crudely nearby. Though Paperina loves to ridicule and depict the demise of news-making artists, I suspect she also has a secret reverence for them. You could tell the blood squirting from McGee’s neck was painted with love.\u003c/p>\n\u003cp>Paperina is my favorite kind of artist because she focuses on cranking out the message, not painting with unattainable skill. She excels at leveling with her viewer and even painted a portrait of herself shouting “hello” from the roof of LincArt.\u003c/p>\n\u003cp>Caricatures of art dealers proclaiming their greatness and/or dying are another specialty of Paperina’s. She’s prolific with her death scenarios. Jack Hanley gets mauled by a bear, Jeffrey Deitch is crushed by a hairy pink foot, and Jay Jopling jumps from the roof of his own White Cube gallery. Hilarity prevails in Paperina’s morbid pictures, despite Larry Gagosian’s split head and Charles Saatchi’s melting face. Is she bitter? No, she’s Italian.\u003c/p>\n\u003cp>An American artist might appear invidious and trite, but Paperina comes off smooth and snarky (in a good way). Her show is a cartoon snapshot of big names in the contemporary art scene as it stands today and will likely be archived in history. Let’s hope she’s not prophetic because it is not uncommon for artists to be offed by their own creations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the paintings can be seen \u003ca href=\"http://lincart.com/artists/album13\" target=\"offsite\" rel=\"noopener\">online\u003c/a>, but don’t deprive yourself of this opportunity to laugh out loud at an art show. You can go to every other art gallery in town and I guarantee you won’t see anything funnier than Paperina’s \u003cb>Fat Spiderman\u003c/b> painting. If you do, please tell me where it is. I like my art the same way I like my movies: funny. The world is serious enough as it is.\u003c/p>\n\u003cp>See this article on \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/01/08/NSB0153U6L.DTL&hw=paperina&sn=001&sc=1000\" target=\"offsite\" rel=\"noopener\">SF Gate\u003c/a> to find out what Laurina Paperina’s real last name is, and what Barry McGee thinks of the homage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ridiculous Things\u003c/b> is on display at Lincart, 1632C Market Street, San Francisco, through February 14th, 2009. For more information, call 415-503-1981.\u003c/p>\n\n",
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"content": "\u003cp>What does an absence look like? It looks like what’s left behind: a person leaning toward the ground because a shoulder has been withdrawn. How does one visually represent loss? It is the space around the missing, the still-present elements that highlight what has gone. A “retraction” is withdrawn information; the refutation of an earlier finding. \u003cb>Retractions\u003c/b> is a group show, including 47 works by 30 artists, at Root Division through January 24. The art “embraces this gesture of withdrawal, and explores notions of ‘vacated information’ through working with themes of censorship, value, memory, and loss,” Whitney Lynn’s curatorial statement reads.\u003c/p>\n\u003cp> The question of how to represent absence is an essay question, not multiple choice. Its answer is elusive, if it even exists, and some of these artists make a better stab at it than others. I most liked the pieces that dealt with presence and absence as relative, rather than discrete, conditions, and that highlighted the tensions within the relationship. Allison Watkins’s \u003cb>Heirloom\u003c/b> is a collection of maple boxes filled with embroidered vellum. The work, consisting of tactile forms occupying physical space, does not immediately conjure ideas of absence. But the transfer of an heirloom from one generation to the next is an attempt to preserve familial relationships, to stifle the sense of loss caused by the older generation’s inevitable demise. Watkins’s work exposes the way a physical object can both have a positive presence and function as a potent symbol of loss. An absence doesn’t always look like an empty space.\u003c/p>\n\u003cp>Except when it does. Several artists in the show chose to represent the concept of erasure literally. Peter J. Baldes’s \u003cb>erased dekoonings\u003c/b> is a series of video screen captures in which the artist virtually erases de Kooning’s figure from a photograph. Jennifer Maria Harris’s \u003cb>Fear Not Library\u003c/b> is a collection of 18 of the bestselling books of all time — \u003cb>Jonathan Livingston Seagull\u003c/b>, \u003cb>The Da Vinci Code\u003c/b>, the Bible. The artist has painted over every word except “fear not,” or combinations of words expressing similar messages. Taha Belal’s \u003cb>Untitled (World Journal)\u003c/b> is a faded newspaper, the text illegible. Adam Whitney Day’s \u003cb>Exchange Rate\u003c/b> is a series of erased dollar bills beside a handmade box. Visitors are invited to take one of the erased bills and replace it with their own.\u003c/p>\n\u003cp>I understand that an exhibit based on the concept of erased information is bound to be minimal, and I think erasure is a viable approach to the concept of “retractions.” But when so many artists employ such similar techniques, the viewer (at least this one) gets tired of looking at Wite-Out and blank pieces of paper. This is unfortunate, especially in Day’s case. His piece poses an important question, especially in a gallery setting. By juxtaposing erased bills with a handmade box, the artist asks which is more valuable — a symbolic piece of paper or the result of one’s direct labor.\u003c/p>\n\u003cp>Other artists obscured, rather than erased, information, highlighting misunderstandings rather than creating voids, which worked better in this context. Deric Carner’s series of drawings, \u003cb>Message 3\u003c/b>, \u003cb>Message 4\u003c/b>, \u003cb>Screen\u003c/b> and \u003cb>Promise\u003c/b>, contains written phrases with key letters blocked by screens and other objects. The barriers function as physical manifestations of language’s shortcomings, embodiments of the ways we misread and misunderstand each other’s words every day. I think the same can be said of art works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, there is more to look at and appreciate than ponder the absence of in \u003cb>Retractions\u003c/b>. As with an earlier group show at the gallery, \u003cb>Insider/Outsider\u003c/b>, this exhibit presents a supposed dichotomy, which the most successful works expose as false.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Retractions\u003c/b> runs through January 24, 2009, at Root Division, 3175 17th St., San Francisco. For more information, call 863-7668.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does an absence look like? It looks like what’s left behind: a person leaning toward the ground because a shoulder has been withdrawn. How does one visually represent loss? It is the space around the missing, the still-present elements that highlight what has gone. A “retraction” is withdrawn information; the refutation of an earlier finding. \u003cb>Retractions\u003c/b> is a group show, including 47 works by 30 artists, at Root Division through January 24. The art “embraces this gesture of withdrawal, and explores notions of ‘vacated information’ through working with themes of censorship, value, memory, and loss,” Whitney Lynn’s curatorial statement reads.\u003c/p>\n\u003cp> The question of how to represent absence is an essay question, not multiple choice. Its answer is elusive, if it even exists, and some of these artists make a better stab at it than others. I most liked the pieces that dealt with presence and absence as relative, rather than discrete, conditions, and that highlighted the tensions within the relationship. Allison Watkins’s \u003cb>Heirloom\u003c/b> is a collection of maple boxes filled with embroidered vellum. The work, consisting of tactile forms occupying physical space, does not immediately conjure ideas of absence. But the transfer of an heirloom from one generation to the next is an attempt to preserve familial relationships, to stifle the sense of loss caused by the older generation’s inevitable demise. Watkins’s work exposes the way a physical object can both have a positive presence and function as a potent symbol of loss. An absence doesn’t always look like an empty space.\u003c/p>\n\u003cp>Except when it does. Several artists in the show chose to represent the concept of erasure literally. Peter J. Baldes’s \u003cb>erased dekoonings\u003c/b> is a series of video screen captures in which the artist virtually erases de Kooning’s figure from a photograph. Jennifer Maria Harris’s \u003cb>Fear Not Library\u003c/b> is a collection of 18 of the bestselling books of all time — \u003cb>Jonathan Livingston Seagull\u003c/b>, \u003cb>The Da Vinci Code\u003c/b>, the Bible. The artist has painted over every word except “fear not,” or combinations of words expressing similar messages. Taha Belal’s \u003cb>Untitled (World Journal)\u003c/b> is a faded newspaper, the text illegible. Adam Whitney Day’s \u003cb>Exchange Rate\u003c/b> is a series of erased dollar bills beside a handmade box. Visitors are invited to take one of the erased bills and replace it with their own.\u003c/p>\n\u003cp>I understand that an exhibit based on the concept of erased information is bound to be minimal, and I think erasure is a viable approach to the concept of “retractions.” But when so many artists employ such similar techniques, the viewer (at least this one) gets tired of looking at Wite-Out and blank pieces of paper. This is unfortunate, especially in Day’s case. His piece poses an important question, especially in a gallery setting. By juxtaposing erased bills with a handmade box, the artist asks which is more valuable — a symbolic piece of paper or the result of one’s direct labor.\u003c/p>\n\u003cp>Other artists obscured, rather than erased, information, highlighting misunderstandings rather than creating voids, which worked better in this context. Deric Carner’s series of drawings, \u003cb>Message 3\u003c/b>, \u003cb>Message 4\u003c/b>, \u003cb>Screen\u003c/b> and \u003cb>Promise\u003c/b>, contains written phrases with key letters blocked by screens and other objects. The barriers function as physical manifestations of language’s shortcomings, embodiments of the ways we misread and misunderstand each other’s words every day. I think the same can be said of art works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, there is more to look at and appreciate than ponder the absence of in \u003cb>Retractions\u003c/b>. As with an earlier group show at the gallery, \u003cb>Insider/Outsider\u003c/b>, this exhibit presents a supposed dichotomy, which the most successful works expose as false.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Retractions\u003c/b> runs through January 24, 2009, at Root Division, 3175 17th St., San Francisco. For more information, call 863-7668.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>2008 is about to be auld lang syne, and it was a stellar year for my art viewing pleasure. I saw art daily here at home and on occasion in Chicago, New York, Los Angeles and New Orleans. End of the year, time for a list.\u003c/p>\n\u003cp>Eight best art moments of ’08:\u003c/p>\n\u003cp>1. Covering Lydia Fong’s stunning show at \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/profile.jsp?essid=23484\">Ratio 3 Gallery\u003c/a> shortly after writing about the film \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=23313\">Beautiful Losers\u003c/a>.\u003c/p>\n\u003cp>2. Seeing the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=22942\">Whitney Biennial\u003c/a>, especially Mika Rottenberg and Ry Rocklen’s work. Rottenberg is not surprisingly on the cover of this month’s \u003ci>ArtNews\u003c/i> magazine.\u003c/p>\n\u003cp>3. Laying under an Olafur Eliasson \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/in/set-72157605446973623/\">ceiling mirror\u003c/a> at MOMA’s PS.1 and snapping photos even though it’s not allowed. I generally follow museum rules, but this time it was necessary to break one and risk a booting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4. Viewing Ralph Lemon’s exhibit at the Contemporary Art Center in New Orleans with a former professor of mine who pointed out Lemon’s references to Joseph Beuys. This subtly animated \u003ca href=\"http://www.flickr.com/photos/8837740@N04/3117438892/%22\">face projected through glass\u003c/a> was unforgettable. A sculptural \u003ca href=\"http://www.flickr.com/photos/8837740@N04/3116611863/\">snarl of mattresses\u003c/a> by another artist was also impressive.\u003c/p>\n\u003cp>5. Taking my mom on a rickety double-decker bus press tour of \u003ca href=\"http://www.kqed.org/arts/multimedia/article.jsp?essid=22683\">Women in the City\u003c/a> — a public art exhibition in Los Angeles.\u003c/p>\n\u003cp>6. Going to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=22567\">BCAM\u003c/a>, a mind-blowing museum of Eli Broad’s blue chip art trophies.\u003c/p>\n\u003cp>7. Doing a Q&A with a favorite artist, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=21604\">Mel Kadel\u003c/a>, and later reading a more extensive interview with her in \u003ci>Juxtapoz\u003c/i>.\u003c/p>\n\u003cp>8. Watching people splash around in Jaume Plensa’s \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2809064573/\" target=\"offsite\" rel=\"noopener\">Crown Fountain\u003c/a> in Chicago’s Millennium Park. (The Jeff Koons pseudo-retrospective I saw in Chicago did not make this list because there was far \u003ca href=\"http://www.tate.org.uk/collections/artist-rooms/koons-heaven.jpg\" target=\"offsite\" rel=\"noopener\">too much of him\u003c/a> on view.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each of these moments has made me a more thoughtful person — a typical result of frequent art viewings. Experiencing art is not only about the object or the artist; it’s about you and me and the things we have in common. What was your best art moment this year?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2008 is about to be auld lang syne, and it was a stellar year for my art viewing pleasure. I saw art daily here at home and on occasion in Chicago, New York, Los Angeles and New Orleans. End of the year, time for a list.\u003c/p>\n\u003cp>Eight best art moments of ’08:\u003c/p>\n\u003cp>1. Covering Lydia Fong’s stunning show at \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/profile.jsp?essid=23484\">Ratio 3 Gallery\u003c/a> shortly after writing about the film \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=23313\">Beautiful Losers\u003c/a>.\u003c/p>\n\u003cp>2. Seeing the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=22942\">Whitney Biennial\u003c/a>, especially Mika Rottenberg and Ry Rocklen’s work. Rottenberg is not surprisingly on the cover of this month’s \u003ci>ArtNews\u003c/i> magazine.\u003c/p>\n\u003cp>3. Laying under an Olafur Eliasson \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/in/set-72157605446973623/\">ceiling mirror\u003c/a> at MOMA’s PS.1 and snapping photos even though it’s not allowed. I generally follow museum rules, but this time it was necessary to break one and risk a booting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4. Viewing Ralph Lemon’s exhibit at the Contemporary Art Center in New Orleans with a former professor of mine who pointed out Lemon’s references to Joseph Beuys. This subtly animated \u003ca href=\"http://www.flickr.com/photos/8837740@N04/3117438892/%22\">face projected through glass\u003c/a> was unforgettable. A sculptural \u003ca href=\"http://www.flickr.com/photos/8837740@N04/3116611863/\">snarl of mattresses\u003c/a> by another artist was also impressive.\u003c/p>\n\u003cp>5. Taking my mom on a rickety double-decker bus press tour of \u003ca href=\"http://www.kqed.org/arts/multimedia/article.jsp?essid=22683\">Women in the City\u003c/a> — a public art exhibition in Los Angeles.\u003c/p>\n\u003cp>6. Going to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=22567\">BCAM\u003c/a>, a mind-blowing museum of Eli Broad’s blue chip art trophies.\u003c/p>\n\u003cp>7. Doing a Q&A with a favorite artist, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=21604\">Mel Kadel\u003c/a>, and later reading a more extensive interview with her in \u003ci>Juxtapoz\u003c/i>.\u003c/p>\n\u003cp>8. Watching people splash around in Jaume Plensa’s \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2809064573/\" target=\"offsite\" rel=\"noopener\">Crown Fountain\u003c/a> in Chicago’s Millennium Park. (The Jeff Koons pseudo-retrospective I saw in Chicago did not make this list because there was far \u003ca href=\"http://www.tate.org.uk/collections/artist-rooms/koons-heaven.jpg\" target=\"offsite\" rel=\"noopener\">too much of him\u003c/a> on view.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each of these moments has made me a more thoughtful person — a typical result of frequent art viewings. Experiencing art is not only about the object or the artist; it’s about you and me and the things we have in common. What was your best art moment this year?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I want to be a hobo. To ride the rails over the High Plains, campfires and tin cans and burlap sacks for sheets. I want to be a part of the landscape while traveling through it, tracing the iron grid that created the Midwestern towns and fields I’ve only seen from airplane windows.\u003c/p>\n\u003cp>But I’ll never be a hobo. I like French-pressed coffee too much, and after a brief period of homelessness this fall, have realized I am not the type of person who can tolerate being “in-between homes.” But still I’ll romanticize the heck out of hobo life — imagine them as outlaw heroes, back roads pioneers, beholden solely to train schedules, scanning corrugated parades for empty freight cars in which to leap.\u003c/p>\n\u003cp>There’s a guy who goes by the name of “Other” and he rides on the railroad through the American Midwest and Canada and sometimes in Europe. He paints on his temporary, moving home. He paints faces and scrawls messages and when you’re not expecting it his images pop out at you. I’ve never seen his work on a train car, but I can imagine it — the surprise and the tension between the static image and the moving canvas.\u003c/p>\n\u003cp>“Other” also goes by the name Troy Lovegates. Recently, Lovegates stopped moving long enough to display his paintings inside, on the wall, at the Needles and Pens Gallery, in an exhibit titled \u003cb>Stolen Land\u003c/b>. Based on \u003ca href=\"http://flavorpill.com/sanfrancisco/events/2008/11/21/stolen-lands-new-work-by-other\" target=\"offsite\" rel=\"noopener\">Web chatter\u003c/a>, people were excited about the show, which opened December 5 and runs through December 31, 2008. They were especially excited about the possibility of seeing so much of his work in one place — one with stable walls and a stable roof. A building, with a solid foundation and a fixed street address, is the opposite of a moving train car. I was curious about this, too, and wondered how the shift in context would affect and alter the pieces.\u003c/p>\n\u003cp>Lovegates’s style is a sort of sophisticated graffiti. Chiseled, finely detailed faces sit atop cartoonish bodies; figures equally at home in a brick alley as an art gallery. The exhibit at Needles and Pens is a study in contrasts. It consists of paintings done on everyday objects, such as a linoleum countertop and the interior of a desk drawer, as well as gouache and ink drawings neatly set within black frames. Prints and paintings on cut-out pieces of wood create a dynamic collage on one wall. Themes of solitude and smothering intertwine in the work. Lonely figures look out from the wall startled, some holding liquor bottles, some swaying uncertainly. One wears a belt buckle etched with the simple word “Alone.” Other works express connection. A series of bulbous forms sprout multiple heads in a series of framed drawings. The monstrous figures have detailed intestines and fetuses growing inside. People both grow and sit trapped inside other people. Boundaries are nonexistent. Patterns repeat on clothing and as independent abstractions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Will I forever alienate every Mission District resident under the age of 28 if I say I was disappointed in \u003cb>Stolen Land\u003c/b>? Well, I was. Not in the work, per se, but in its display. The setting, an out-of-the-ordinary environment for this artist’s work, could have served as a point of conceptual tension. It could have highlighted the contrast between inside and outside, between static and motion, that runs through his practice. Images could’ve leapt across the walls, could’ve climbed the ceilings to create an all-encompassing installation that drew attention to the space’s confining nature as well as its form. But instead, whatever tensions existed seemed unintentional. The images inside the frames felt stuck, as though they longed to break free and write themselves across the gallery walls. The cut-out wood and sculptural paintings loomed beside them, an uneven mural that was visually rich but lacked cohesiveness. I’d still recommend the show; it just didn’t accomplish what I had hoped it would.\u003c/p>\n\u003cp>And I’d still like to be a hobo. To break from my day job and spend my mornings staring out of square-framed boxcar windows. To look up and see one of Other’s paintings traveling by on its way to somewhere else. Maybe that’s the best way to see his work — when I have no expectations, when I can let myself be surprised by its sudden appearance and charm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stolen Land\u003c/b> is on display at Needles and Pens, 3253 16th St., San Francisco, through December 31, 2008. For more information, call 415-255-1534.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I want to be a hobo. To ride the rails over the High Plains, campfires and tin cans and burlap sacks for sheets. I want to be a part of the landscape while traveling through it, tracing the iron grid that created the Midwestern towns and fields I’ve only seen from airplane windows.\u003c/p>\n\u003cp>But I’ll never be a hobo. I like French-pressed coffee too much, and after a brief period of homelessness this fall, have realized I am not the type of person who can tolerate being “in-between homes.” But still I’ll romanticize the heck out of hobo life — imagine them as outlaw heroes, back roads pioneers, beholden solely to train schedules, scanning corrugated parades for empty freight cars in which to leap.\u003c/p>\n\u003cp>There’s a guy who goes by the name of “Other” and he rides on the railroad through the American Midwest and Canada and sometimes in Europe. He paints on his temporary, moving home. He paints faces and scrawls messages and when you’re not expecting it his images pop out at you. I’ve never seen his work on a train car, but I can imagine it — the surprise and the tension between the static image and the moving canvas.\u003c/p>\n\u003cp>“Other” also goes by the name Troy Lovegates. Recently, Lovegates stopped moving long enough to display his paintings inside, on the wall, at the Needles and Pens Gallery, in an exhibit titled \u003cb>Stolen Land\u003c/b>. Based on \u003ca href=\"http://flavorpill.com/sanfrancisco/events/2008/11/21/stolen-lands-new-work-by-other\" target=\"offsite\" rel=\"noopener\">Web chatter\u003c/a>, people were excited about the show, which opened December 5 and runs through December 31, 2008. They were especially excited about the possibility of seeing so much of his work in one place — one with stable walls and a stable roof. A building, with a solid foundation and a fixed street address, is the opposite of a moving train car. I was curious about this, too, and wondered how the shift in context would affect and alter the pieces.\u003c/p>\n\u003cp>Lovegates’s style is a sort of sophisticated graffiti. Chiseled, finely detailed faces sit atop cartoonish bodies; figures equally at home in a brick alley as an art gallery. The exhibit at Needles and Pens is a study in contrasts. It consists of paintings done on everyday objects, such as a linoleum countertop and the interior of a desk drawer, as well as gouache and ink drawings neatly set within black frames. Prints and paintings on cut-out pieces of wood create a dynamic collage on one wall. Themes of solitude and smothering intertwine in the work. Lonely figures look out from the wall startled, some holding liquor bottles, some swaying uncertainly. One wears a belt buckle etched with the simple word “Alone.” Other works express connection. A series of bulbous forms sprout multiple heads in a series of framed drawings. The monstrous figures have detailed intestines and fetuses growing inside. People both grow and sit trapped inside other people. Boundaries are nonexistent. Patterns repeat on clothing and as independent abstractions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Will I forever alienate every Mission District resident under the age of 28 if I say I was disappointed in \u003cb>Stolen Land\u003c/b>? Well, I was. Not in the work, per se, but in its display. The setting, an out-of-the-ordinary environment for this artist’s work, could have served as a point of conceptual tension. It could have highlighted the contrast between inside and outside, between static and motion, that runs through his practice. Images could’ve leapt across the walls, could’ve climbed the ceilings to create an all-encompassing installation that drew attention to the space’s confining nature as well as its form. But instead, whatever tensions existed seemed unintentional. The images inside the frames felt stuck, as though they longed to break free and write themselves across the gallery walls. The cut-out wood and sculptural paintings loomed beside them, an uneven mural that was visually rich but lacked cohesiveness. I’d still recommend the show; it just didn’t accomplish what I had hoped it would.\u003c/p>\n\u003cp>And I’d still like to be a hobo. To break from my day job and spend my mornings staring out of square-framed boxcar windows. To look up and see one of Other’s paintings traveling by on its way to somewhere else. Maybe that’s the best way to see his work — when I have no expectations, when I can let myself be surprised by its sudden appearance and charm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stolen Land\u003c/b> is on display at Needles and Pens, 3253 16th St., San Francisco, through December 31, 2008. For more information, call 415-255-1534.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>L.A. is the new N.Y.C. This is what I’ve read in several publications, not all of which were produced in Los Angeles. The latest demonstration of this shift in the national art market is currently on view at the Oakland Museum. \u003cb>L.A. Paint\u003c/b>, an exhibition of 10 Los Angeles based artists, was curated by Philip Linhares who, in a recent interview, kindly told me more about why New York may, for the first time ever, be defending its “Heavyweight Champion of the Art World” title.\u003c/p>\n\u003cp>The exhibition includes work by artists Esther Pearl Watson (my new fave), Loren Holland, The Date Farmers (my reigning fave), Robert Williams, Hyesook Park, Steve Galloway, Brian Fahlstrom, Steve Roden, Don Suggs, and Linda Stark. \u003cb>L.A. Paint\u003c/b> is on view at the Oakland Museum through March 8, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>L.A. is the new N.Y.C. This is what I’ve read in several publications, not all of which were produced in Los Angeles. The latest demonstration of this shift in the national art market is currently on view at the Oakland Museum. \u003cb>L.A. Paint\u003c/b>, an exhibition of 10 Los Angeles based artists, was curated by Philip Linhares who, in a recent interview, kindly told me more about why New York may, for the first time ever, be defending its “Heavyweight Champion of the Art World” title.\u003c/p>\n\u003cp>The exhibition includes work by artists Esther Pearl Watson (my new fave), Loren Holland, The Date Farmers (my reigning fave), Robert Williams, Hyesook Park, Steve Galloway, Brian Fahlstrom, Steve Roden, Don Suggs, and Linda Stark. \u003cb>L.A. Paint\u003c/b> is on view at the Oakland Museum through March 8, 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I suppose sequential art is not the obvious answer for every artist participating in the “Art on Market Street” program. But for Jenifer Wofford, whose biggest drawing influence was \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=23722\">Love and Rockets\u003c/a> comics artist Jaime Hernandez, and who has never drawn a comic book — I guess the opportunity was too much to resist.\u003c/p>\n\u003cp>The format of the Market Street Kiosk project comprises six different posters (six feet by four feet each) mounted in lighted kiosks, strung along the length of Market Street from Van Ness to the Embarcadero. Wofford’s first solo Kiosk series, then, is a story in traditional comic book panels. But \u003cb>Flor de Manila y San Francisco\u003c/b> is more than just the emo tale of San Francisco days and nights you might expect from our local graphic storytellers. \u003cb>Flor\u003c/b> is actually a narrative of the first six years of a Filipina nurse’s sojourn in the United States, and a completely satisfying disruption of the Asian American immigrant narrative you’ve come to “joy and luck.”\u003c/p>\n\u003cp>\u003cb>Flor de Manila y San Francisco\u003c/b> starts in 1973, when Flor, a nurse, leaves Manila for SF, and continues until 1978, when her application to bring over her family is accepted: one chapter, and one poster, for each year. In this sense, it’s sequential. However, the many panels within each poster constitute a montage of events from that year, rather than a sequentially told story. Each year is connected to a historic event, like the launch of \u003ca href=\"http://www-pao.ksc.nasa.gov/history/skylab/skylab.htm\" target=\"offsite\" rel=\"noopener\">Skylab\u003c/a> in 1973, or the “\u003ca href=\"http://en.wikipedia.org/wiki/Thrilla_In_Manila\" target=\"offsite\" rel=\"noopener\">Thrilla in Manila\u003c/a>” Ali/Frasier fight in 1975. And each year has a theme in terms of our heroine’s assimilation into San Francisco life: disorientation, boredom, community activism, etc.\u003c/p>\n\u003cp>The series is interesting in itself, and I’d strongly recommend that viewers get on the hoof and walk down Market from Van Ness to Embarcadero, day or night, to view the series. (Please note: they are out of order, which doesn’t ruin the already fragmented experience, but you should adjust your expectations accordingly.) \u003cb>Flor\u003c/b> is particularly interesting in light of Wofford’s recent work, which includes \u003ca href=\"http://wofflehouse.com/projects/nurse/\" target=\"offsite\" rel=\"noopener\">a series of line drawings\u003c/a> on institutional green paper of nurses at work being pursued, absorbed, and cushioned by a sentient bank of fog; \u003ca href=\"http://wofflehouse.com/projects/point-of-departure/\" target=\"offsite\" rel=\"noopener\">a non-sequential, textless, color narrative\u003c/a> of a particular nurse (perhaps also Flor); and video work featuring — you guessed it — nurse characters.\u003c/p>\n\u003cp>Wofford’s fascination with Filipina nurses was grounded and contextualized in a \u003ca href=\"http://kearnystreet.org/programs/calendar/2008_11.html#Wofford\" target=\"offsite\" rel=\"noopener\">riveting panel discussion\u003c/a> she organized at Kearny Street Workshop on November 13. The panel consisted of historians, experts on: contemporary Filipino history, Filipino American history, and, very specifically, the trajectory of the Filipina nurse diaspora in the 20th century. If this sounds specific and bizarre … it’s not. The dominance of the nursing industry — worldwide — by Filipina nurses hides within it the story of the Philippines in the 20th century, major themes of recent colonization and decolonization, and some essential pieces to the puzzle of contemporary US immigration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was the US that created a system of modern hospitals and state-of-the-art nursing schools in the Philippines in the early part of the century. American certification made Filipina nurses (primarily women due to the imposition of American gender roles) sought after the world over. Succeeding economic problems throughout decolonization sent nurses abroad; the declaration of martial law by Marcos in 1973 kicked off another diaspora; and the collapse of the Philippine middle class following Aquino’s economic reforms in the eighties completed the brain drain. On the other side, the nurse diaspora exemplifies one vitally important recent immigration trend in the United States: following the failure of US secondary-level science and math education: importing medical, engineering, and other science-based professionals from Asia.\u003c/p>\n\u003cp>In everything she does, Wofford is always both wildly ambitious and able to express complex ideas in simple form. Her research into images of the period have rendered a slightly alternative San Francisco in seventies colors. These images haunt Market Street with the question of how, thirty years later, the immigrants and sojourners depicted here have affected and changed the region, and how the region has changed them. Here, the artist uses her kiosk series to rewrite the familiar immigrant story. Her insistence on fragmenting narrative within each poster, and the accidental placement of the posters out of sequence, help with this disruption. But it’s more that Wofford’s extensive research and intelligent investigation of actual immigrant lives must necessarily dispute the clean arc of assimilation.\u003c/p>\n\u003cp>And, it turns out, Wofford makes a kickass graphic novelist. I could have told you that she’d be good at the form, but you never really know until you know. I hope to god that she plans a book project next, and doesn’t give in to ambient pressure to be more of a traditional storyteller. This is great stuff: smart, questioning, knowledgeable, enamored equally with character and concept. Plus, it’s fun to look at, and a comic should be that above all else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flor de Manila y San Francisco\u003c/b> runs through December 19, 2008 along Market Street.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I suppose sequential art is not the obvious answer for every artist participating in the “Art on Market Street” program. But for Jenifer Wofford, whose biggest drawing influence was \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=23722\">Love and Rockets\u003c/a> comics artist Jaime Hernandez, and who has never drawn a comic book — I guess the opportunity was too much to resist.\u003c/p>\n\u003cp>The format of the Market Street Kiosk project comprises six different posters (six feet by four feet each) mounted in lighted kiosks, strung along the length of Market Street from Van Ness to the Embarcadero. Wofford’s first solo Kiosk series, then, is a story in traditional comic book panels. But \u003cb>Flor de Manila y San Francisco\u003c/b> is more than just the emo tale of San Francisco days and nights you might expect from our local graphic storytellers. \u003cb>Flor\u003c/b> is actually a narrative of the first six years of a Filipina nurse’s sojourn in the United States, and a completely satisfying disruption of the Asian American immigrant narrative you’ve come to “joy and luck.”\u003c/p>\n\u003cp>\u003cb>Flor de Manila y San Francisco\u003c/b> starts in 1973, when Flor, a nurse, leaves Manila for SF, and continues until 1978, when her application to bring over her family is accepted: one chapter, and one poster, for each year. In this sense, it’s sequential. However, the many panels within each poster constitute a montage of events from that year, rather than a sequentially told story. Each year is connected to a historic event, like the launch of \u003ca href=\"http://www-pao.ksc.nasa.gov/history/skylab/skylab.htm\" target=\"offsite\" rel=\"noopener\">Skylab\u003c/a> in 1973, or the “\u003ca href=\"http://en.wikipedia.org/wiki/Thrilla_In_Manila\" target=\"offsite\" rel=\"noopener\">Thrilla in Manila\u003c/a>” Ali/Frasier fight in 1975. And each year has a theme in terms of our heroine’s assimilation into San Francisco life: disorientation, boredom, community activism, etc.\u003c/p>\n\u003cp>The series is interesting in itself, and I’d strongly recommend that viewers get on the hoof and walk down Market from Van Ness to Embarcadero, day or night, to view the series. (Please note: they are out of order, which doesn’t ruin the already fragmented experience, but you should adjust your expectations accordingly.) \u003cb>Flor\u003c/b> is particularly interesting in light of Wofford’s recent work, which includes \u003ca href=\"http://wofflehouse.com/projects/nurse/\" target=\"offsite\" rel=\"noopener\">a series of line drawings\u003c/a> on institutional green paper of nurses at work being pursued, absorbed, and cushioned by a sentient bank of fog; \u003ca href=\"http://wofflehouse.com/projects/point-of-departure/\" target=\"offsite\" rel=\"noopener\">a non-sequential, textless, color narrative\u003c/a> of a particular nurse (perhaps also Flor); and video work featuring — you guessed it — nurse characters.\u003c/p>\n\u003cp>Wofford’s fascination with Filipina nurses was grounded and contextualized in a \u003ca href=\"http://kearnystreet.org/programs/calendar/2008_11.html#Wofford\" target=\"offsite\" rel=\"noopener\">riveting panel discussion\u003c/a> she organized at Kearny Street Workshop on November 13. The panel consisted of historians, experts on: contemporary Filipino history, Filipino American history, and, very specifically, the trajectory of the Filipina nurse diaspora in the 20th century. If this sounds specific and bizarre … it’s not. The dominance of the nursing industry — worldwide — by Filipina nurses hides within it the story of the Philippines in the 20th century, major themes of recent colonization and decolonization, and some essential pieces to the puzzle of contemporary US immigration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was the US that created a system of modern hospitals and state-of-the-art nursing schools in the Philippines in the early part of the century. American certification made Filipina nurses (primarily women due to the imposition of American gender roles) sought after the world over. Succeeding economic problems throughout decolonization sent nurses abroad; the declaration of martial law by Marcos in 1973 kicked off another diaspora; and the collapse of the Philippine middle class following Aquino’s economic reforms in the eighties completed the brain drain. On the other side, the nurse diaspora exemplifies one vitally important recent immigration trend in the United States: following the failure of US secondary-level science and math education: importing medical, engineering, and other science-based professionals from Asia.\u003c/p>\n\u003cp>In everything she does, Wofford is always both wildly ambitious and able to express complex ideas in simple form. Her research into images of the period have rendered a slightly alternative San Francisco in seventies colors. These images haunt Market Street with the question of how, thirty years later, the immigrants and sojourners depicted here have affected and changed the region, and how the region has changed them. Here, the artist uses her kiosk series to rewrite the familiar immigrant story. Her insistence on fragmenting narrative within each poster, and the accidental placement of the posters out of sequence, help with this disruption. But it’s more that Wofford’s extensive research and intelligent investigation of actual immigrant lives must necessarily dispute the clean arc of assimilation.\u003c/p>\n\u003cp>And, it turns out, Wofford makes a kickass graphic novelist. I could have told you that she’d be good at the form, but you never really know until you know. I hope to god that she plans a book project next, and doesn’t give in to ambient pressure to be more of a traditional storyteller. This is great stuff: smart, questioning, knowledgeable, enamored equally with character and concept. Plus, it’s fun to look at, and a comic should be that above all else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flor de Manila y San Francisco\u003c/b> runs through December 19, 2008 along Market Street.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gently Forcing the Question: SFMOMA's The Art of Participation",
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"content": "\u003cp>I’ll be blunt: with regards to inspiring sheer visual awe, most of the pieces in SFMOMA’s \u003cb>The Art of Participation: 1950 to Now\u003c/b> don’t hold up. This is particularly true when they are placed next to the marvels of Martin Puryear, or to Felix González-Torres’s \u003cb>Untitled (Golden)\u003c/b> — a gold, beaded curtain that performs as an imposing and sensuous threshold to the exhibit \u003cb>Passageworks\u003c/b> — both of which are also currently on view at SFMOMA.\u003c/p>\n\u003cp>This shouldn’t come as a surprise, however. Most of the works in the exhibition set out to intentionally complicate what at some point in the mid-20th century was decided to be an overly simple relationship: that of the viewer and the art object. It is from this discourse that we inherit phrases like audience complicity, social sculpture, relational aesthetics, and art as open work. So it’s to be expected that many of the art objects in this exhibition play second-fiddle to our interactions with them, if there is an object present to begin with.\u003c/p>\n\u003cp>It’s not a sneak attack, exactly. Like it or not (and some people really don’t like it), the variety of art today deemed as “participatory,” has long been folded into the art historical canon, and one of the intentions of \u003cb>The Art of Participation\u003c/b> is to present a genealogy of sorts, revealing the historical antecedents of a new generation of artists whose works employ similar concepts and strategies, although often through different technologies. More broadly speaking, it’s a look at analogue and digital notions of interactivity, nodes, and participation — before and after the rise of the internet.\u003c/p>\n\u003cp>The curatorial staff has chosen John Cage’s \u003cb>4’33”\u003c/b> (1952) as a point of genesis, and the logic is easy enough to follow. Think about it: a man sits down at a piano in the middle of an urban setting and what follows is four minutes and thirty-three seconds of silence (\u003ca href=\"http://www.youtube.com/watch?v=_4L9Q5mTKx0\" target=\"offsite\" rel=\"noopener\">see YouTube video here\u003c/a>). A piece that invites you to listen to yourself listening. The piano (closed and untouchable) and the sheet music (blank) are on display, as well as a video of several different performances, all forming the centerpiece to the first room of the exhibition — both a chronological and a physical precursor to virtually all the other works on view.\u003c/p>\n\u003cp>There’s a lot of video documentation, of course, including two performances of Yoko Ono’s \u003cb>Cut Piece\u003c/b> (1965/2003), in which the artist invites the audience to cut the clothes off her body. The decision to display both performances simultaneously is a smart one; the small differences in the way each audience handles the artist’s request really change the tone of the piece. Also worth stopping to watch is a re-installment of Kit Galloway and Sherrie Rabinowitz’s \u003cb>Hole-in-Space\u003c/b> (1980), using original footage. Imagine, in 1980, a live video feed set up between crowds in New York and Los Angeles, before the availability of video chats. People get VERY excited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aside from the video documentation, the museum has done a great job of providing visitors with opportunities to participate. Yes, that means if you are like me and typically have to keep your hands in your pockets while you’re in museums, you will be allowed to touch. One of my personal highlights involved trying on Lygia Clark’s \u003cb>Óculos\u003c/b> (1968) after many years of coveting the experience via photos. One pair of glasses, shared by two heads, with lenses that sometimes reflect your own eyes back to you and at other times, depending on their position, force you to look into the eyes of your partner, which is all the more intimate and startling if your partner is a perfect stranger, like mine happened to be.\u003c/p>\n\u003cp>If this sounds a little intense, there are plenty of other options on the table, like attempting one of Erwin Wurm’s \u003cb>One Minute Sculptures\u003c/b> (2007/2008), or becoming a regular at Tom Marioni’s \u003cb>The Act of Drinking Beer with Friends Is the Highest Form of Art\u003c/b> (1970 ? 2008). In fact, you can choose not to come to the museum at all, and instead bid on eBay for the opportunity to assume creative control over one of the exhibits (the piece is titled \u003cb>1st Public White Cube\u003c/b> (2001/2008), by Joachim Blank, Gerrit Gohlke, and Karl Heinz Jeron; you can visit it online at \u003ca href=\"http://www.publicwhitecube.com/\" target=\"offsite\" rel=\"noopener\">1st Public White Cube\u003c/a>).\u003c/p>\n\u003cp>I have to admit that I actually had a lot of fun, particularly interacting with Erwin Wurm’s pieces. My heart may not have soared like it did after I got a glance of González-Torres’s golden curtain from across the way, but there is certainly a lot at stake in \u003cb>The Art of Participation\u003c/b>, beginning with the definition of participation and all of its complexities — i.e., when is it considered legitimate and illegitimate, and when is it expected versus unwanted? This is the subtext that lies underneath the exhibition, provided by works like Francis Alÿs’s \u003cb>Re-enactments\u003c/b> (2001) and Abramovic/Ulay’s \u003cb>Imponderabilia\u003c/b> (1977). And while the decision to highlight the contemporary artistic trend towards what feels like a very safe and non-threatening type of interaction (one that allows me the illusion of control and fair exchange) distills a lot of the potency in these questions, they are not lost entirely.\u003c/p>\n\u003cp>Postscript: I’m currently working on a collaborative piece that will be presented at the Koret Center as part of the educational programming for \u003cb>The Art of Participation\u003c/b>. So if the above piece reads like I’ve been overthinking participatory art, it’s because I have. And if it doesn’t sound that way, yikes. I guess I need to polish my thoughts!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Participate in \u003cb>The Art of Participation\u003c/b> through February 9, 2009 at SFMoMA.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ll be blunt: with regards to inspiring sheer visual awe, most of the pieces in SFMOMA’s \u003cb>The Art of Participation: 1950 to Now\u003c/b> don’t hold up. This is particularly true when they are placed next to the marvels of Martin Puryear, or to Felix González-Torres’s \u003cb>Untitled (Golden)\u003c/b> — a gold, beaded curtain that performs as an imposing and sensuous threshold to the exhibit \u003cb>Passageworks\u003c/b> — both of which are also currently on view at SFMOMA.\u003c/p>\n\u003cp>This shouldn’t come as a surprise, however. Most of the works in the exhibition set out to intentionally complicate what at some point in the mid-20th century was decided to be an overly simple relationship: that of the viewer and the art object. It is from this discourse that we inherit phrases like audience complicity, social sculpture, relational aesthetics, and art as open work. So it’s to be expected that many of the art objects in this exhibition play second-fiddle to our interactions with them, if there is an object present to begin with.\u003c/p>\n\u003cp>It’s not a sneak attack, exactly. Like it or not (and some people really don’t like it), the variety of art today deemed as “participatory,” has long been folded into the art historical canon, and one of the intentions of \u003cb>The Art of Participation\u003c/b> is to present a genealogy of sorts, revealing the historical antecedents of a new generation of artists whose works employ similar concepts and strategies, although often through different technologies. More broadly speaking, it’s a look at analogue and digital notions of interactivity, nodes, and participation — before and after the rise of the internet.\u003c/p>\n\u003cp>The curatorial staff has chosen John Cage’s \u003cb>4’33”\u003c/b> (1952) as a point of genesis, and the logic is easy enough to follow. Think about it: a man sits down at a piano in the middle of an urban setting and what follows is four minutes and thirty-three seconds of silence (\u003ca href=\"http://www.youtube.com/watch?v=_4L9Q5mTKx0\" target=\"offsite\" rel=\"noopener\">see YouTube video here\u003c/a>). A piece that invites you to listen to yourself listening. The piano (closed and untouchable) and the sheet music (blank) are on display, as well as a video of several different performances, all forming the centerpiece to the first room of the exhibition — both a chronological and a physical precursor to virtually all the other works on view.\u003c/p>\n\u003cp>There’s a lot of video documentation, of course, including two performances of Yoko Ono’s \u003cb>Cut Piece\u003c/b> (1965/2003), in which the artist invites the audience to cut the clothes off her body. The decision to display both performances simultaneously is a smart one; the small differences in the way each audience handles the artist’s request really change the tone of the piece. Also worth stopping to watch is a re-installment of Kit Galloway and Sherrie Rabinowitz’s \u003cb>Hole-in-Space\u003c/b> (1980), using original footage. Imagine, in 1980, a live video feed set up between crowds in New York and Los Angeles, before the availability of video chats. People get VERY excited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aside from the video documentation, the museum has done a great job of providing visitors with opportunities to participate. Yes, that means if you are like me and typically have to keep your hands in your pockets while you’re in museums, you will be allowed to touch. One of my personal highlights involved trying on Lygia Clark’s \u003cb>Óculos\u003c/b> (1968) after many years of coveting the experience via photos. One pair of glasses, shared by two heads, with lenses that sometimes reflect your own eyes back to you and at other times, depending on their position, force you to look into the eyes of your partner, which is all the more intimate and startling if your partner is a perfect stranger, like mine happened to be.\u003c/p>\n\u003cp>If this sounds a little intense, there are plenty of other options on the table, like attempting one of Erwin Wurm’s \u003cb>One Minute Sculptures\u003c/b> (2007/2008), or becoming a regular at Tom Marioni’s \u003cb>The Act of Drinking Beer with Friends Is the Highest Form of Art\u003c/b> (1970 ? 2008). In fact, you can choose not to come to the museum at all, and instead bid on eBay for the opportunity to assume creative control over one of the exhibits (the piece is titled \u003cb>1st Public White Cube\u003c/b> (2001/2008), by Joachim Blank, Gerrit Gohlke, and Karl Heinz Jeron; you can visit it online at \u003ca href=\"http://www.publicwhitecube.com/\" target=\"offsite\" rel=\"noopener\">1st Public White Cube\u003c/a>).\u003c/p>\n\u003cp>I have to admit that I actually had a lot of fun, particularly interacting with Erwin Wurm’s pieces. My heart may not have soared like it did after I got a glance of González-Torres’s golden curtain from across the way, but there is certainly a lot at stake in \u003cb>The Art of Participation\u003c/b>, beginning with the definition of participation and all of its complexities — i.e., when is it considered legitimate and illegitimate, and when is it expected versus unwanted? This is the subtext that lies underneath the exhibition, provided by works like Francis Alÿs’s \u003cb>Re-enactments\u003c/b> (2001) and Abramovic/Ulay’s \u003cb>Imponderabilia\u003c/b> (1977). And while the decision to highlight the contemporary artistic trend towards what feels like a very safe and non-threatening type of interaction (one that allows me the illusion of control and fair exchange) distills a lot of the potency in these questions, they are not lost entirely.\u003c/p>\n\u003cp>Postscript: I’m currently working on a collaborative piece that will be presented at the Koret Center as part of the educational programming for \u003cb>The Art of Participation\u003c/b>. So if the above piece reads like I’ve been overthinking participatory art, it’s because I have. And if it doesn’t sound that way, yikes. I guess I need to polish my thoughts!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Participate in \u003cb>The Art of Participation\u003c/b> through February 9, 2009 at SFMoMA.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The origin story goes something like this: Once upon a time there were two brothers in Southern California. They lived with their mother, their father, and their mother’s prodigious comic book collection. In the late ’70s, the brothers collided with the Los Angeles punk scene, and, swept up in punk’s do-it-yourself ethic, began making and selling their own comics.\u003c/p>\n\u003cp>Those comics, known as \u003cb>Love and Rockets\u003c/b>, are perhaps the only fusion of punk, late-night monster movies, Archie Comics, and Mexican folktales in existence. They are certainly the only great one. In an era where most independent comics, however good, often had a sterile, misanthropic, shut-in quality, \u003cb>Love and Rockets\u003c/b> were sprawling and lurid and hyper-oxygenated. One got the feeling that the Hernandez brothers actually left the house occasionally.\u003c/p>\n\u003cp>Both of them wrote complex stories that featured dozens of characters — Jaime’s set in a mythical town in Ventura County called Hoppers, and Gilbert’s in an equally imaginary town in Central America called Palomar. Characters squabbled, fell in love, crossed the border, had gay sex without necessarily thinking of themselves as gay, danced around in combat boots, had children and then proved to be kind of bad parents, and generally behaved the way that real people do, but in convenient, portable, two-dimensional, black and white form.\u003c/p>\n\u003cp>\u003cb>New Stories: Vol.1\u003c/b> is the most recent collection of \u003cb>Love and Rockets\u003c/b> comics, and it’s most interesting to read it with this question in mind: “What is it like to write about the same characters for twenty-eight years?” Jaime seems to be fine with it. His stories in the collection are deft and funny and class-conscious and not unlike the stories that he wrote in his twenties. They hit their familiar marks like a practiced vaudeville act, and the entire experience is not unlike that of slipping into a tub of warm bathwater.\u003c/p>\n\u003cp>Then there’s the matter of Gilbert, who is deep into a new authorial persona that is 1/3 R. Crumb in his acid days, 1/3 Chris Ware in his “all human life is a miserable failure at something” mode, and 1/3 the guy who used to be Gilbert Hernandez, before he moved to Bummertown and set up residence in a lean-to shanty made entirely out of LSD blotter paper. Reading his sections of \u003cb>New Stories\u003c/b> is like settling in to watch a new episode of one of your favorite television shows, only to discover that the title sequence is gone, all of your favorite characters are gone, and actually, the show now consists of nothing but oboe noises and colored dots moving slowly across the screen. Or, to use a specific example from the book, by a cartoon squirrel looking for the enormous penis who gave him a coin to play the slot machines. Or by a character with colander-like holes in his forehead experiencing Old Testament-level suffering (worms, bleeding from eyes, mudslides, eccentric hospitality) as he attempts to get home to a wife who may or may not have poisoned his bean tacos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gilbert Hernandez, after twenty-eight years of writing and drawing long, character-driven sagas that have been compared to the best of Gabriel Garcia Marquez, is now doing work that is experimental and almost narrative-less. It looks good enough. In fact, most of the individual panels look like they could easily be selling for thousands of dollars in a gallery in Chelsea. But the stories, as much as they can be called that, are atrophied to the point of nonsensicality, and weirdly alienated and bitter compared to the occasionally cruel but ultimately close-knit universe that was his earlier work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What could have brought about this change? Could the sheer experience of chronicling so many characters for so long have had something to do with it? Only one character recurs from story to story — first as a cheerful village kid, then as bitter, wizened old creature on a snow-covered mountain. “I was going off to see the world,” he says, “I did that for many years, and wound up here alone. After eighty years of meeting so many different people, I had enough. I wasted my life by not having one of my own.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The origin story goes something like this: Once upon a time there were two brothers in Southern California. They lived with their mother, their father, and their mother’s prodigious comic book collection. In the late ’70s, the brothers collided with the Los Angeles punk scene, and, swept up in punk’s do-it-yourself ethic, began making and selling their own comics.\u003c/p>\n\u003cp>Those comics, known as \u003cb>Love and Rockets\u003c/b>, are perhaps the only fusion of punk, late-night monster movies, Archie Comics, and Mexican folktales in existence. They are certainly the only great one. In an era where most independent comics, however good, often had a sterile, misanthropic, shut-in quality, \u003cb>Love and Rockets\u003c/b> were sprawling and lurid and hyper-oxygenated. One got the feeling that the Hernandez brothers actually left the house occasionally.\u003c/p>\n\u003cp>Both of them wrote complex stories that featured dozens of characters — Jaime’s set in a mythical town in Ventura County called Hoppers, and Gilbert’s in an equally imaginary town in Central America called Palomar. Characters squabbled, fell in love, crossed the border, had gay sex without necessarily thinking of themselves as gay, danced around in combat boots, had children and then proved to be kind of bad parents, and generally behaved the way that real people do, but in convenient, portable, two-dimensional, black and white form.\u003c/p>\n\u003cp>\u003cb>New Stories: Vol.1\u003c/b> is the most recent collection of \u003cb>Love and Rockets\u003c/b> comics, and it’s most interesting to read it with this question in mind: “What is it like to write about the same characters for twenty-eight years?” Jaime seems to be fine with it. His stories in the collection are deft and funny and class-conscious and not unlike the stories that he wrote in his twenties. They hit their familiar marks like a practiced vaudeville act, and the entire experience is not unlike that of slipping into a tub of warm bathwater.\u003c/p>\n\u003cp>Then there’s the matter of Gilbert, who is deep into a new authorial persona that is 1/3 R. Crumb in his acid days, 1/3 Chris Ware in his “all human life is a miserable failure at something” mode, and 1/3 the guy who used to be Gilbert Hernandez, before he moved to Bummertown and set up residence in a lean-to shanty made entirely out of LSD blotter paper. Reading his sections of \u003cb>New Stories\u003c/b> is like settling in to watch a new episode of one of your favorite television shows, only to discover that the title sequence is gone, all of your favorite characters are gone, and actually, the show now consists of nothing but oboe noises and colored dots moving slowly across the screen. Or, to use a specific example from the book, by a cartoon squirrel looking for the enormous penis who gave him a coin to play the slot machines. Or by a character with colander-like holes in his forehead experiencing Old Testament-level suffering (worms, bleeding from eyes, mudslides, eccentric hospitality) as he attempts to get home to a wife who may or may not have poisoned his bean tacos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Hallway Bathroom Gallery | KQED",
"content": "\u003cp>Forget euphemisms. Brion Nuda Rosch calls his gallery what it is. The Hallway Bathroom Gallery is the hallway and bathroom of his modest Mission District apartment. Rosch, an artist and former curator at the Adobe Books Backroom Gallery, began curating exhibits in his home in 2005. In 2007, he rested. And in the second half of 2008 the Hallway Bathroom Gallery has re-emerged with three successive group shows, each exploring a particular genre. \u003cb>Landscape\u003c/b> showed from August 30 to October 5; \u003cb>Pattern\u003c/b> will show from December 13 to January 24. \u003cb>Portrait\u003c/b> is the current show. On display through November 30, it features work by twenty-four artists, most from places beyond San Francisco.\u003c/p>\n\u003cp>Forget outside. The Hallway Bathroom Gallery is the opposite of exposure. It cultivates enclosure. Protected in a domestic space, curled up like a snail in a shell. To access it, you must either attend an opening, visit on Saturday afternoons, or e-mail Rosch to set up an appointment. The apartment is up a long curving staircase; you must ring the bell and stand on the front steps and wait for him to descend. It is like visiting a friend.\u003c/p>\n\u003cp>Go inside. Rosch embraces and even emphasizes the gallery’s domestic, private qualities. He made tea for me; his cat nuzzled my foot. His embrace is a relief. It means you don’t have to spend your time trying to forget you’re in some guy’s apartment looking at art. Instead, you are reminded again and again, until the environment becomes another layer of the exhibit. Rather than the exposure of the street, Rosch’s gallery confronts visitors with a startling degree of seclusion and intimacy. This confrontation is as central to the exhibit as the art on the walls.\u003c/p>\n\u003cp>Forget genre. The artists in this show approach portraiture not as a set of constraints, but as an orienting principle within a field of limitless experimentation. Their work extends down the long, narrow hallway like a story. It begins with \u003cb>Pamphile ‘Barb’ Beaudion\u003c/b> by Chicago artist Rachel Niffenegger. A gouache face colored in swirling magentas and greens melts into a white background, dissolving and forming at the same time. A woman drawn in pencil stares out with intent eyes from \u003cb>Space Spirit\u003c/b> by Bill Donovon of Brooklyn. An infinity sign, the word “Love” and two small animals are drawn above her head, a cryptic arrangement that alludes to meaning without letting viewers in on the code. Heidi Anderson’s \u003cb>From Fall\u003c/b> is next. A delicately drawn female face painted in self-aware innocence — streaks of color create a triangle, a bird sits on her head, a squirrel below her chin. Leaves rest in her hair. Like \u003cb>Space Spirit\u003c/b>, the painting has a quasi-mystical appearance. Both artists’ symbols are highly personal and thus opaque, letters from an inaccessible language that express unease rather than enlightenment. Barcelona artist Michael Swaney’s \u003cb>Papi Chilo Zulu\u003c/b> is an accretion of forms and patterns that result in an almost symmetrical head-like shape. Done in a ballpoint pen, \u003cb>Papi Chilo Zulu\u003c/b> reminds me of drawing as a child — when one shape effortlessly led to another, when you’re old enough to know what symmetry is but not old enough to achieve it.\u003c/p>\n\u003cp>Sit down. I’ll admit I didn’t want to go into the bathroom. A toilet and garbage can fill the small rectangular room and a row of faces wraps around the walls. The only way I could look at the art and write in my notebook was to sit down. But don’t worry, the lid was closed. I spent my time in the bathroom staring at just two pieces. In New York artist Jessica Williams’s \u003cb>Theo #2\u003c/b>, heavy white hair frames a narrow, sunken face against a black background. Artist Mishel Valenton uses color as form in \u003cb>Kate\u003c/b>, layering turquoise, yellow, and red paint to build a female face; the eyes are left as black sockets. “Kate” appears as though covered in face paint; I imagine her running around a campfire at a backwoods psychedelic party. But that could just be me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I left, I looked for a line that separated my experience of the gallery from my experience of the exhibit. None existed. \u003cb>Portrait\u003c/b> is a strong show on its own, I decided, but it is nested within a larger exhibit, one that includes Rosch’s apartment building, his hallway, his bathroom, even Rosch himself. It is the conversation between these two exhibits that is on display. It is an intimate dialogue, one about daily life and comings and goings. Still, we are invited to put our ears to the wall and listen in.\u003c/p>\n\u003cp>\u003cb>Portrait\u003c/b> is on display through Sunday, November 30, 2008 at the Hallway Bathroom Gallery, 391A South Van Ness Avenue, San Francisco. To arrange an appointment, e-mail info@hallwaybathroomgallery.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>[Editor’s Note:]\u003c/b> In a similar vein, check out Megan Wilson’s \u003cb>Home\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23641\">see review\u003c/a>). \u003cb>Home\u003c/b> is another great, alternative way to view art in an intimate setting and another excellent Thanksgiving weekend activity that will keep you away from the increasingly depressing mall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forget euphemisms. Brion Nuda Rosch calls his gallery what it is. The Hallway Bathroom Gallery is the hallway and bathroom of his modest Mission District apartment. Rosch, an artist and former curator at the Adobe Books Backroom Gallery, began curating exhibits in his home in 2005. In 2007, he rested. And in the second half of 2008 the Hallway Bathroom Gallery has re-emerged with three successive group shows, each exploring a particular genre. \u003cb>Landscape\u003c/b> showed from August 30 to October 5; \u003cb>Pattern\u003c/b> will show from December 13 to January 24. \u003cb>Portrait\u003c/b> is the current show. On display through November 30, it features work by twenty-four artists, most from places beyond San Francisco.\u003c/p>\n\u003cp>Forget outside. The Hallway Bathroom Gallery is the opposite of exposure. It cultivates enclosure. Protected in a domestic space, curled up like a snail in a shell. To access it, you must either attend an opening, visit on Saturday afternoons, or e-mail Rosch to set up an appointment. The apartment is up a long curving staircase; you must ring the bell and stand on the front steps and wait for him to descend. It is like visiting a friend.\u003c/p>\n\u003cp>Go inside. Rosch embraces and even emphasizes the gallery’s domestic, private qualities. He made tea for me; his cat nuzzled my foot. His embrace is a relief. It means you don’t have to spend your time trying to forget you’re in some guy’s apartment looking at art. Instead, you are reminded again and again, until the environment becomes another layer of the exhibit. Rather than the exposure of the street, Rosch’s gallery confronts visitors with a startling degree of seclusion and intimacy. This confrontation is as central to the exhibit as the art on the walls.\u003c/p>\n\u003cp>Forget genre. The artists in this show approach portraiture not as a set of constraints, but as an orienting principle within a field of limitless experimentation. Their work extends down the long, narrow hallway like a story. It begins with \u003cb>Pamphile ‘Barb’ Beaudion\u003c/b> by Chicago artist Rachel Niffenegger. A gouache face colored in swirling magentas and greens melts into a white background, dissolving and forming at the same time. A woman drawn in pencil stares out with intent eyes from \u003cb>Space Spirit\u003c/b> by Bill Donovon of Brooklyn. An infinity sign, the word “Love” and two small animals are drawn above her head, a cryptic arrangement that alludes to meaning without letting viewers in on the code. Heidi Anderson’s \u003cb>From Fall\u003c/b> is next. A delicately drawn female face painted in self-aware innocence — streaks of color create a triangle, a bird sits on her head, a squirrel below her chin. Leaves rest in her hair. Like \u003cb>Space Spirit\u003c/b>, the painting has a quasi-mystical appearance. Both artists’ symbols are highly personal and thus opaque, letters from an inaccessible language that express unease rather than enlightenment. Barcelona artist Michael Swaney’s \u003cb>Papi Chilo Zulu\u003c/b> is an accretion of forms and patterns that result in an almost symmetrical head-like shape. Done in a ballpoint pen, \u003cb>Papi Chilo Zulu\u003c/b> reminds me of drawing as a child — when one shape effortlessly led to another, when you’re old enough to know what symmetry is but not old enough to achieve it.\u003c/p>\n\u003cp>Sit down. I’ll admit I didn’t want to go into the bathroom. A toilet and garbage can fill the small rectangular room and a row of faces wraps around the walls. The only way I could look at the art and write in my notebook was to sit down. But don’t worry, the lid was closed. I spent my time in the bathroom staring at just two pieces. In New York artist Jessica Williams’s \u003cb>Theo #2\u003c/b>, heavy white hair frames a narrow, sunken face against a black background. Artist Mishel Valenton uses color as form in \u003cb>Kate\u003c/b>, layering turquoise, yellow, and red paint to build a female face; the eyes are left as black sockets. “Kate” appears as though covered in face paint; I imagine her running around a campfire at a backwoods psychedelic party. But that could just be me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I left, I looked for a line that separated my experience of the gallery from my experience of the exhibit. None existed. \u003cb>Portrait\u003c/b> is a strong show on its own, I decided, but it is nested within a larger exhibit, one that includes Rosch’s apartment building, his hallway, his bathroom, even Rosch himself. It is the conversation between these two exhibits that is on display. It is an intimate dialogue, one about daily life and comings and goings. Still, we are invited to put our ears to the wall and listen in.\u003c/p>\n\u003cp>\u003cb>Portrait\u003c/b> is on display through Sunday, November 30, 2008 at the Hallway Bathroom Gallery, 391A South Van Ness Avenue, San Francisco. To arrange an appointment, e-mail info@hallwaybathroomgallery.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>[Editor’s Note:]\u003c/b> In a similar vein, check out Megan Wilson’s \u003cb>Home\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23641\">see review\u003c/a>). \u003cb>Home\u003c/b> is another great, alternative way to view art in an intimate setting and another excellent Thanksgiving weekend activity that will keep you away from the increasingly depressing mall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Attention San Francisco art thief:\u003c/p>\n\u003cp>Stealing art is a lousy thing to do. You must enjoy breaking hearts and making people cry. If you think you’ve gotten over on some snobby fat cat, you’re wrong. Most galleries are started as a labor of love, funded by the owners’ credit cards. Do you think you’re cool because you’re holding a piece of artwork that you didn’t pay for? Is it all fun and games to spoil a neighborhood art gallery’s trust in the community and make them install security cameras so more jerks like you can’t rip them off? Save yourself some bad karma by wrapping up your undeserved prize and mailing it back to where it belongs, because San Francisco galleries have a posse and they’re looking for you.\u003c/p>\n\u003cp>Signed,\u003cbr>Mad About You in SF\u003c/p>\n\u003cp>The following works were stolen from local galleries in 2008:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sylvia-ji.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Missing since June 12, 2008 from White Walls Gallery in the Tenderloin:\u003c/b>\u003c/p>\n\u003cp>Two paintings by Sylvia Ji. The works had already been purchased by collectors, so Ji has to create two new pieces of equal size. White Walls’ current exhibition, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23644\" target=\"offsite\" rel=\"noopener\">Awful Mountain\u003c/a>, includes some pocket-sized works that the gallery has had to secure with creative solutions like wire ties and double-sided tape.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcgee-rojas.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since July 9, 2008 from RVCA Gallery at Haight and Ashbury:\u003c/b>\u003c/p>\n\u003cp>A mini messenger bag painted by Barry McGee and a small painting by Clare Rojas. The gallery had to install security cameras after this incident. McGee’s work is frequently stolen — even some of his large-scale public works have been swiped — but the piece stolen from RVCA was from the artist’s personal collection and considered priceless.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lamarche.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since September 20, 2008 from the W Hotel Gallery Downtown:\u003c/b>\u003c/p>\n\u003cp>A painting by Greg LaMarche from an exhibit co-organized by curators at White Walls Gallery. Despite security hangers, this piece was taken right off the wall during business hours while people were around, just like all the others listed here. There are security cameras in the W Hotel but the piece happened to be hanging in a blind spot.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kilgallen.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid; clear: right;\">\u003c/p>\n\u003cp>\u003cb>Missing since October 15 2008 from Gallery 16, SOMA:\u003c/b>\u003c/p>\n\u003cp>Two paintings on wood by influential San Francsico artist Margaret Kilgallen (1967-2001). These pieces were from gallery owner Griff Williams’s private collection and were given to him as a gift by Kilgallen, who never felt entirely comfortable participating in the art market. Kilgallen often chose not to sell her work, prefering instead to reuse some pieces to create new installations. Gallery 16 is burglarized after hours about once a year, but the artwork has always been passed over in favor of computer equipment. Williams says he’s been tempted to take the complex, jerry-rigged structures used to sneak into the building and display them in the gallery. But the two young men who stole the Kilgallen pieces lifted them in the morning when the gallery had just opened and Williams was working on a book edition in the back room. He said the hardest part of the theft was breaking the news to his wife, who was especially fond of Kilgallen and the paintings.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nelson.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since November 9, 2008 from Triple Base Gallery, Mission District:\u003c/b>\u003c/p>\n\u003cp>A small painting by Jay Nelson. The artist was featured on the \u003ci>New York Times\u003c/i> web site the weekend this piece was stolen. Triple Base was planning to take the small watercolor to the NADA Art Fair at the end of this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have seen these works of art or have any information about them, please leave a comment here or contact the galleries (listed below).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attention San Francisco art thief:\u003c/p>\n\u003cp>Stealing art is a lousy thing to do. You must enjoy breaking hearts and making people cry. If you think you’ve gotten over on some snobby fat cat, you’re wrong. Most galleries are started as a labor of love, funded by the owners’ credit cards. Do you think you’re cool because you’re holding a piece of artwork that you didn’t pay for? Is it all fun and games to spoil a neighborhood art gallery’s trust in the community and make them install security cameras so more jerks like you can’t rip them off? Save yourself some bad karma by wrapping up your undeserved prize and mailing it back to where it belongs, because San Francisco galleries have a posse and they’re looking for you.\u003c/p>\n\u003cp>Signed,\u003cbr>Mad About You in SF\u003c/p>\n\u003cp>The following works were stolen from local galleries in 2008:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sylvia-ji.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Missing since June 12, 2008 from White Walls Gallery in the Tenderloin:\u003c/b>\u003c/p>\n\u003cp>Two paintings by Sylvia Ji. The works had already been purchased by collectors, so Ji has to create two new pieces of equal size. White Walls’ current exhibition, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23644\" target=\"offsite\" rel=\"noopener\">Awful Mountain\u003c/a>, includes some pocket-sized works that the gallery has had to secure with creative solutions like wire ties and double-sided tape.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcgee-rojas.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since July 9, 2008 from RVCA Gallery at Haight and Ashbury:\u003c/b>\u003c/p>\n\u003cp>A mini messenger bag painted by Barry McGee and a small painting by Clare Rojas. The gallery had to install security cameras after this incident. McGee’s work is frequently stolen — even some of his large-scale public works have been swiped — but the piece stolen from RVCA was from the artist’s personal collection and considered priceless.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lamarche.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since September 20, 2008 from the W Hotel Gallery Downtown:\u003c/b>\u003c/p>\n\u003cp>A painting by Greg LaMarche from an exhibit co-organized by curators at White Walls Gallery. Despite security hangers, this piece was taken right off the wall during business hours while people were around, just like all the others listed here. There are security cameras in the W Hotel but the piece happened to be hanging in a blind spot.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kilgallen.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid; clear: right;\">\u003c/p>\n\u003cp>\u003cb>Missing since October 15 2008 from Gallery 16, SOMA:\u003c/b>\u003c/p>\n\u003cp>Two paintings on wood by influential San Francsico artist Margaret Kilgallen (1967-2001). These pieces were from gallery owner Griff Williams’s private collection and were given to him as a gift by Kilgallen, who never felt entirely comfortable participating in the art market. Kilgallen often chose not to sell her work, prefering instead to reuse some pieces to create new installations. Gallery 16 is burglarized after hours about once a year, but the artwork has always been passed over in favor of computer equipment. Williams says he’s been tempted to take the complex, jerry-rigged structures used to sneak into the building and display them in the gallery. But the two young men who stole the Kilgallen pieces lifted them in the morning when the gallery had just opened and Williams was working on a book edition in the back room. He said the hardest part of the theft was breaking the news to his wife, who was especially fond of Kilgallen and the paintings.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nelson.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 5px; border: black 1px solid;\">\u003c/p>\n\u003cp>\u003cb>Missing since November 9, 2008 from Triple Base Gallery, Mission District:\u003c/b>\u003c/p>\n\u003cp>A small painting by Jay Nelson. The artist was featured on the \u003ci>New York Times\u003c/i> web site the weekend this piece was stolen. Triple Base was planning to take the small watercolor to the NADA Art Fair at the end of this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have seen these works of art or have any information about them, please leave a comment here or contact the galleries (listed below).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In November 2008, \u003ci>Gallery Crawl\u003c/i> checks out Lukas Felzmann’s \u003cem>GHOSTPILE\u003c/em> photography exhibition at the Thomas Welton Stanford Art Gallery and visits Aicon Gallery’s latest group exhibition, \u003cem>THE HUMAN DICHOTOMY\u003c/em>, a collection of Pakistani miniatures.\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/paloalto-edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Maya Lin: Systematic Landscapes",
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"content": "\u003cp>On a bright winter day, when Golden Gate Park was filled with runners, rollerbladers, and other pleasure-seekers, we found ourselves in the de Young Museum’s basement, gazing upwards through a wire net.\u003c/p>\n\u003cp>We are standing under a wire sculpture by Maya Lin, part of the her \u003cb>Systematic Landscapes\u003c/b> exhibition. The piece is quite simple — a large, uneven grid constructed out of thick wires, it outlines an underwater topography with gentle swells and drops. A collaboration with the Woods Hole Institute in Maine, the sculpture loosely transcribes a chunk of the North Atlantic seafloor into wire.\u003c/p>\n\u003cp>\u003cb>Systematic Landscapes\u003c/b> dovetails with Lin’s recent interest in organic forms. Her newest sculptures veer away from the Vietnam War Memorial’s strict geometry; they are messier, more elaborate, and less controlled.\u003c/p>\n\u003cp>The sculptures in \u003cb>Systematic Landscapes\u003c/b> retain Lin’s interest in phenomenology. The larger sculptures invite physical engagement — we move through, or around, the work. In the case of Lin’s underwater landscape, we become more than passive observers. We become part of the sculpture, or perhaps the sculpture intrudes into our space, and the sculpture transforms our physical experience. The net’s swells and curves define, and limit, our space, and we become fish, schooling beneath a gentle, undulating net.\u003c/p>\n\u003cp>Maya Lin’s career has taken many twists and turns since she won the commission for the Vietnam War Memorial, but the Memorial continues to define her identity as an artist. By now, the story is all too familiar. At the time, Lin was an undergraduate at Yale University. Her design — a simple, black marble chevron, engraved with the names of the 57,000 U.S. soldiers who perished in the Vietnam War — is a work of great gravitas. Though the Vietnam War Memorial is an early work, almost all of Lin’s signatures are present. The Memorial is minimal and abstract. It invites participation. It defines the viewer’s space. The Memorial demands more than passive contemplation; it ignites emotion. Witness the constant queue of visitors, waiting to touch the names engraved in the Memorial’s reflective black marble. Witness the flowers and gifts, laid at the Memorial’s feet. The marble reflects our faces back at us, but now we see ourselves transformed — with the names of the dead laid out across our faces, we suddenly find ourselves drawn into the Memorial, into the War. It is a powerful, wrenching moment. It tears away your composure, and leaves you exhausted, changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, the Memorial does everything that a war memorial should do — it helps us remember, it ignites our emotions, it gives grief a public forum — and it engages with broader currents in art history. An artist needs just one work like the Vietnam War Memorial. And Lin hit her home run early. Like it or not, the Memorial defines her as an artist.\u003c/p>\n\u003cp>In recent years, Lin has expressed a desire to move away from her early success. These days, she says, she is less interested in creating memorials or solving architectural problems. Though she trained as an architect, she would like to step away from architecture, and redefine herself as an artist. Artists, she maintains, have more freedom. They answer to no outside imperatives. And at this stage in her career, what Lin wants, more than anything else, is the freedom to pursue an individual vision.\u003c/p>\n\u003cp>The works in \u003cb>Systematic Landscapes\u003c/b> reveal the artist’s desire for freedom and movement. The works here are more experimental. They reveal an interest in movement, in lines and shapes that are asymmetric and unstable. \u003cb>Systemic Landscapes\u003c/b> includes a smattering of her smaller works, such as small table-top sculptures, drawings, and plaster “wall drawings.” They continue her recent obsession with maps, topography, and models. Lin has expanded her repertoire beyond sculptures and architectural installations, to earthworks. Her interest in topography has taken a literal turn, taking the form of “Wave Fields,” sculpted landscapes that undulate and move, much like the wire sculpture we first encountered.\u003c/p>\n\u003cp>Taken as a body, these works reveal the constant push and pull in Lin’s work, between her penchant for systems, logic, control — and her desire for freedom, movement, and chaos. Her experiments are interesting, but not always successful. Lin is a phenomenal problem solver, and she works best against constraints.\u003c/p>\n\u003cp>The pieces in \u003cb>Systematic Landscapes\u003c/b> are well-finished and carefully crafted, but they lacked a certain richness. I left the exhibition feeling dissatisfied, but I couldn’t quite articulate my dissatisfaction. I wanted, or expected, more, and did not find it. The pieces in the exhibition had a generic quality to them.\u003c/p>\n\u003cp>Lin is savvy enough to understand that her best work engaged with grand themes and primal emotions. At this juncture in her career, she has chosen another grand theme: Nature. But there is something about Lin’s language, and her execution, that lacks emotional resonance. Could it be her choice of artistic vocabulary? Her choice of theme? Nature is a nebulous concept — it is broad, and deep, and certainly “grand.” But as a concept, it lacks a central fulcrum around which an artist might turn.\u003c/p>\n\u003cp>Lin’s language, in \u003cb>Systematic Landscapes\u003c/b>, is rational and technocratic. These pieces are based on computer models, algorithms, topographic models — and though the undulating lines describe Nature, they are not inherently natural. There is nothing “natural” about a curved line. A tree reads as “natural.” A bird is “natural.” A line is an abstraction, and abstractions are artificial. This descriptive language of science and technology is coolly beautiful, but in the sterile gallery setting, it fails to captivate and catch fire. We are left one level away from the “real thing.”\u003c/p>\n\u003cp>Might these pieces work better in a different setting? Would they be stronger if they were installations, if they were given a context richer, and more “natural,” than the museum’s white box? Given a different frame, perhaps Lin’s \u003cb>Systemic Landscapes\u003c/b> could come alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maya Lin’s \u003cb>Systematic Landscapes\u003c/b>is at the de Young Museum through January 18, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a bright winter day, when Golden Gate Park was filled with runners, rollerbladers, and other pleasure-seekers, we found ourselves in the de Young Museum’s basement, gazing upwards through a wire net.\u003c/p>\n\u003cp>We are standing under a wire sculpture by Maya Lin, part of the her \u003cb>Systematic Landscapes\u003c/b> exhibition. The piece is quite simple — a large, uneven grid constructed out of thick wires, it outlines an underwater topography with gentle swells and drops. A collaboration with the Woods Hole Institute in Maine, the sculpture loosely transcribes a chunk of the North Atlantic seafloor into wire.\u003c/p>\n\u003cp>\u003cb>Systematic Landscapes\u003c/b> dovetails with Lin’s recent interest in organic forms. Her newest sculptures veer away from the Vietnam War Memorial’s strict geometry; they are messier, more elaborate, and less controlled.\u003c/p>\n\u003cp>The sculptures in \u003cb>Systematic Landscapes\u003c/b> retain Lin’s interest in phenomenology. The larger sculptures invite physical engagement — we move through, or around, the work. In the case of Lin’s underwater landscape, we become more than passive observers. We become part of the sculpture, or perhaps the sculpture intrudes into our space, and the sculpture transforms our physical experience. The net’s swells and curves define, and limit, our space, and we become fish, schooling beneath a gentle, undulating net.\u003c/p>\n\u003cp>Maya Lin’s career has taken many twists and turns since she won the commission for the Vietnam War Memorial, but the Memorial continues to define her identity as an artist. By now, the story is all too familiar. At the time, Lin was an undergraduate at Yale University. Her design — a simple, black marble chevron, engraved with the names of the 57,000 U.S. soldiers who perished in the Vietnam War — is a work of great gravitas. Though the Vietnam War Memorial is an early work, almost all of Lin’s signatures are present. The Memorial is minimal and abstract. It invites participation. It defines the viewer’s space. The Memorial demands more than passive contemplation; it ignites emotion. Witness the constant queue of visitors, waiting to touch the names engraved in the Memorial’s reflective black marble. Witness the flowers and gifts, laid at the Memorial’s feet. The marble reflects our faces back at us, but now we see ourselves transformed — with the names of the dead laid out across our faces, we suddenly find ourselves drawn into the Memorial, into the War. It is a powerful, wrenching moment. It tears away your composure, and leaves you exhausted, changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, the Memorial does everything that a war memorial should do — it helps us remember, it ignites our emotions, it gives grief a public forum — and it engages with broader currents in art history. An artist needs just one work like the Vietnam War Memorial. And Lin hit her home run early. Like it or not, the Memorial defines her as an artist.\u003c/p>\n\u003cp>In recent years, Lin has expressed a desire to move away from her early success. These days, she says, she is less interested in creating memorials or solving architectural problems. Though she trained as an architect, she would like to step away from architecture, and redefine herself as an artist. Artists, she maintains, have more freedom. They answer to no outside imperatives. And at this stage in her career, what Lin wants, more than anything else, is the freedom to pursue an individual vision.\u003c/p>\n\u003cp>The works in \u003cb>Systematic Landscapes\u003c/b> reveal the artist’s desire for freedom and movement. The works here are more experimental. They reveal an interest in movement, in lines and shapes that are asymmetric and unstable. \u003cb>Systemic Landscapes\u003c/b> includes a smattering of her smaller works, such as small table-top sculptures, drawings, and plaster “wall drawings.” They continue her recent obsession with maps, topography, and models. Lin has expanded her repertoire beyond sculptures and architectural installations, to earthworks. Her interest in topography has taken a literal turn, taking the form of “Wave Fields,” sculpted landscapes that undulate and move, much like the wire sculpture we first encountered.\u003c/p>\n\u003cp>Taken as a body, these works reveal the constant push and pull in Lin’s work, between her penchant for systems, logic, control — and her desire for freedom, movement, and chaos. Her experiments are interesting, but not always successful. Lin is a phenomenal problem solver, and she works best against constraints.\u003c/p>\n\u003cp>The pieces in \u003cb>Systematic Landscapes\u003c/b> are well-finished and carefully crafted, but they lacked a certain richness. I left the exhibition feeling dissatisfied, but I couldn’t quite articulate my dissatisfaction. I wanted, or expected, more, and did not find it. The pieces in the exhibition had a generic quality to them.\u003c/p>\n\u003cp>Lin is savvy enough to understand that her best work engaged with grand themes and primal emotions. At this juncture in her career, she has chosen another grand theme: Nature. But there is something about Lin’s language, and her execution, that lacks emotional resonance. Could it be her choice of artistic vocabulary? Her choice of theme? Nature is a nebulous concept — it is broad, and deep, and certainly “grand.” But as a concept, it lacks a central fulcrum around which an artist might turn.\u003c/p>\n\u003cp>Lin’s language, in \u003cb>Systematic Landscapes\u003c/b>, is rational and technocratic. These pieces are based on computer models, algorithms, topographic models — and though the undulating lines describe Nature, they are not inherently natural. There is nothing “natural” about a curved line. A tree reads as “natural.” A bird is “natural.” A line is an abstraction, and abstractions are artificial. This descriptive language of science and technology is coolly beautiful, but in the sterile gallery setting, it fails to captivate and catch fire. We are left one level away from the “real thing.”\u003c/p>\n\u003cp>Might these pieces work better in a different setting? Would they be stronger if they were installations, if they were given a context richer, and more “natural,” than the museum’s white box? Given a different frame, perhaps Lin’s \u003cb>Systemic Landscapes\u003c/b> could come alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maya Lin’s \u003cb>Systematic Landscapes\u003c/b>is at the de Young Museum through January 18, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"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": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"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": {
"site": "news",
"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",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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