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"content": "\u003cp>When I missed a show of Matt Furie’s color drawings last year, I bought one of his ‘zines to try and make up for it. His images looks like \u003cb>Sesame Street\u003c/b> characters gone awry, a favorite being a blue Grover-type character with multi-colored intestines pouring out of his split gut like a rainbow. The ‘zine is black and white except for the cover and features four stereotypical boy characters — Andy, Brett, Landwolf, and Pepe. They have boy bodies and animal heads, and they watch TV, eat chips, drink booze, fart, puke, and do other boy stuff. They also appear to be stuck in the 1990s, which is not only funny but offers a kind of cultural commentary. This ‘zine, \u003ci>Boy’s Club 2\u003c/i>, made me want to see Furie’s color works even more so I headed to Double Punch to see a group show called \u003cb>Strange Ways\u003c/b> in which he was included. Turns out Furie was showing original drawings from the \u003ci>Boy’s Club\u003c/i> comics along with some framed drawings of dragons on notebook paper. “Dude,” I thought to myself, “these look like a fifteen-year-old boy’s drawings.” In fact, the dragon series was listed collectively as \u003cb>54 Untitled Drawings from 1994-1996\u003c/b> when Furie \u003ci>was\u003c/i> ages 15 – 17. The dragons are presumably his early work, so why not frame and view them critically, reveling in the dragons’ musculature and the artist’s block-lettered signature just as you would with Picasso’s works from the late 1890s? Furie was obviously some kind of prodigy, too. The Boy’s Club drawings, also framed on 3-hole-punched paper, offered more insight into Furie’s views on gender, culture, and friendship. Especially sweet was a drawing of two characters hugging that said, “A hug is the shortest distance between friends. Hug Department: Always Open.” Boys are so weird.\u003c/p>\n\u003cp>Maxwell Holyoke-Hirsch (or Maxwell Loren Holyoke-Hirsch if you use his full name) was also featured in \u003cb>Strange Ways\u003c/b>. His paintings were simple, graphic and inviting. His drawings reminded me both of Alexander Calder’s wire sculptures and \u003ci>New Yorker\u003c/i> illustrations. Deserving of a long stare, Hirsch’s drawings appeared to be made with some humble pens, like the shimmery ballpoint ones you get at Office Depot.\u003c/p>\n\u003cp>Mark Todd, who collaborates with his partner Esther Pearl Watson on a series of ‘zines called \u003ci>Unlovable\u003c/i>, was listed on the show’s postcard, but, unless I’m completely oblivious, his work wasn’t in the show. Matthew Lock’s drawings and paintings rounded out the exhibition and also recalled the style of a teenage boy. His two largest works, \u003cb>Pollution Capitals 1 & 2\u003c/b>, illustrated a post-apocalyptic tale about “purple enforcers mindlessly maintaining a system of control,” according to the painted text. Though I wasn’t initially drawn to these pieces, due to the aforementioned style, a closer look brought an appreciation of details like a nicely rendered industrial cityscape in the background of \u003cb>Pollution Capital 2\u003c/b>, and a clock labeled “out of order,” indicating a land that time had forgotten. In a series of drawings on colored paper, Lock had drawn what looked to be a loose brain map of a stoner.\u003c/p>\n\u003cp>Though I suffered two disappointments at this show (no Furie color works and no Mark Todd drawings), I enjoyed it nonetheless. And a visit to Double Punch is always satisfying. In addition to the gallery, there’s a toy store and, currently, a mural in the window by one of my all-time favorite Portland artists and Double Punch regular, Bwana Spoons, who also has some prints and ‘zines in the store. \u003cb>Strange Ways\u003c/b> was the perfect gender-specific juxtaposition to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=20181\" target=\"offsite\" rel=\"noopener\">Sweet Sunny Temper\u003c/a>, a 2007 all-female Double Punch exhibit I wrote about that was riddled with girly pink overtones. Viewed next to each other, \u003cb>Strange Ways\u003c/b> and \u003cb>Sweet Sunny Temper\u003c/b> would serve as evidence that boys are indeed concerned with things like snakes, snails and puppy dog tails, while girls are sugary and sweet. Or so they say in kindergarten.\u003c/p>\n\u003cp>\u003cb>Strange Ways\u003c/b> runs through March 8th, 2009 at \u003ca href=\"http://www.doublepunch.com\" target=\"offsite\" rel=\"noopener\">Double Punch\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s the 21st century and a black president (well, bi-racial) sits in the Oval Office. Obama was sworn in the day after MLK Day; Aretha Franklin (and her hat) sang the national anthem; Dr. Joseph Lowery quoted “Black, Brown, and White” in his benediction. Obama’s first full month in office is Black History Month. Suddenly, identity markers that have worn thin over three or four decades of identity politics start taking on a new and complex meaning. No, race isn’t over; this is where it starts to get interesting.\u003c/p>\n\u003cp>If the world feels unprepared to understand what it means to be black in America in the new millennium, it’s not because nobody’s been talking about it. Take \u003cb>The Art of Living Black\u003c/b>. This annual non-juried exhibition is in its 13th year at the Richmond Art Center (RAC), and it feels like a conversation that has mellowed with repetition; but one that continues because it’s far from over. The show welcomes all comers — artists of African descent, that is — so I expected it to be something of a free-for-all, visually and thematically. Instead, I saw a display of work by artists in disciplined dialogue with each other and their world; a show unified by common inquiry rather than curatorial vision.\u003c/p>\n\u003cp>An RAC staffer confirmed that many of the over 70 participating artists showed there year after year, responding to each other’s work. This is a kind of artists’ community that many mainstream artists don’t connect with; a community of color, rather than form, pursuing a social question rather than solely an aesthetic one. And this is a profoundly important resource at a moment in history when the rules are changing.\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> favors a narrative mode of painting and sculpture over conceptualism. The works speak directly to the viewer: none of them need an explanatory text. I saw a lot of faces — more than anything I saw faces — pulled partway into abstraction, geometrically fragmented, blurred, broken down into primary and secondary colors; a gallery full of distorted and dissected African faces. I saw almost no straightforward portraiture and almost no bodies in motion, the two modes — I was powerfully reminded — in which African Americans are usually depicted in the media.\u003c/p>\n\u003cp>Virginia Jourdan captured in “Lyn” — a bust of a woman smiling in triumph on top of the massive volume of War and Peace — my exact feeling of accomplishment after reading that doorstop. Latisha Baker burnt a delicate line drawing of a woman into wood (the technique is deliciously named “pyrography”). Makeda Rashid’s “Lavender Thoughts” hints at further layers of complexity in the African American community, showing a young man examining his dreadlocks, while menaced or enticed by a lavender cloud above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The modernist toolkit is very much in use here. Aside from more cubism than you can shake a stick at, I saw constructivist, impressionist, and even fauvist breakdowns of faces, figures, and scenes. Hilda Robinson’s glowing pastel “Sista’s” recalls Degas and Toulouse-Lautrec in its snapshot of two women in their club gear. Jason Austin’s drawing “Soul” nods to both pop culture graphics and geometric distortion, partly depicting a singer at, and partly hiding him behind, his microphone. Jimi L. Evins, one of the show’s standouts, transforms multiform fields of color into oceans, horizons, and prisons in “The Migration Series.” An object lesson in what these tools are actually for: analysis, contemplation, a revelation of dictatorial narrative. A visual seminar on the black face and the black space.\u003c/p>\n\u003cp>The most delightful recurring theme, however, was the subtle visual irony running throughout the show, contrasting with occasionally clunky verbal jokes: Mark Dukes’s “Holy Faces of St. Sambo” employs a bludgeoning written satire over a bizarrely funny parody of an Eastern Orthodox icon; Monica Clark’s “King David” depicts in charcoal a cartoonish lion’s face (a la “Lion King”) with yellow human eyes, challenging and proud; Yasmin Sayyed’s painting of the eye of a hurricane in a landscape is titled “Quiet Prayer.”\u003c/p>\n\u003cp>It feels unfair to continue picking out pieces in a show so full of strong work, but I have to mention the display of beaded and painted stuffed dolls by Karen Seneferu. The dolls seem to represent boys the artist knows, their titles hinting at familiar relationships: “Flyboy,” “Coolio Boy,” “I Just Want Five Feathers.” The beading patterns and feathers suggest a faux tribalism, but the wide-eyed, painted faces are purely contemporary. Like much of the work in \u003cb>The Art of Living Black\u003c/b> Seneferu’s dolls integrate multiple awarenesses: of the community’s cultural history, of the artist’s current milieu and the context in which the work is being produced, of the dangers of perception for artists working with beads and seeds (another popular theme in the show), and of the expectations of “urban” art.\u003c/p>\n\u003cp>I suppose you could say that this — as much as anything — is what \u003cb>The Art of Living Black\u003c/b> is about: representing in art a complex consciousness. But I think that phrase is too general. The language of the exhibition is entirely visual, and very specific to its context. You have to see it, to hear it.\u003c/p>\n\u003cp>By the way, Obama is not forgotten. Deep into the show we see a painting by Milton Tuitt of Barack taking a picture of Michelle. Flanked by his two daughters, the president’s face is hidden by the camera. It is their gaze in which Michelle is captured this time; it is the black man’s eye in the viewfinder, black children who are the audience, the black woman lovingly beheld. This picture should be the caption for the whole show: it is not tables turning, but merely a question of who is observing whom, and what that makes them see.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> runs through March 14, 2009 at the \u003ca href=\"http://www.therichmondartcenter.org/\">Richmond Art Center\u003c/a>. The exhibition encompasses two weekends of open studios on March 7/8 and March 14/15, as well as satellite exhibitions and a self-guided tour. Don’t neglect to check out the companion exhibition \u003cb>Barbershop and Beauty Shop\u003c/b> curated by Herschel West, an interactive multimedia show about the culture of African American hairstyling.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 21st century and a black president (well, bi-racial) sits in the Oval Office. Obama was sworn in the day after MLK Day; Aretha Franklin (and her hat) sang the national anthem; Dr. Joseph Lowery quoted “Black, Brown, and White” in his benediction. Obama’s first full month in office is Black History Month. Suddenly, identity markers that have worn thin over three or four decades of identity politics start taking on a new and complex meaning. No, race isn’t over; this is where it starts to get interesting.\u003c/p>\n\u003cp>If the world feels unprepared to understand what it means to be black in America in the new millennium, it’s not because nobody’s been talking about it. Take \u003cb>The Art of Living Black\u003c/b>. This annual non-juried exhibition is in its 13th year at the Richmond Art Center (RAC), and it feels like a conversation that has mellowed with repetition; but one that continues because it’s far from over. The show welcomes all comers — artists of African descent, that is — so I expected it to be something of a free-for-all, visually and thematically. Instead, I saw a display of work by artists in disciplined dialogue with each other and their world; a show unified by common inquiry rather than curatorial vision.\u003c/p>\n\u003cp>An RAC staffer confirmed that many of the over 70 participating artists showed there year after year, responding to each other’s work. This is a kind of artists’ community that many mainstream artists don’t connect with; a community of color, rather than form, pursuing a social question rather than solely an aesthetic one. And this is a profoundly important resource at a moment in history when the rules are changing.\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> favors a narrative mode of painting and sculpture over conceptualism. The works speak directly to the viewer: none of them need an explanatory text. I saw a lot of faces — more than anything I saw faces — pulled partway into abstraction, geometrically fragmented, blurred, broken down into primary and secondary colors; a gallery full of distorted and dissected African faces. I saw almost no straightforward portraiture and almost no bodies in motion, the two modes — I was powerfully reminded — in which African Americans are usually depicted in the media.\u003c/p>\n\u003cp>Virginia Jourdan captured in “Lyn” — a bust of a woman smiling in triumph on top of the massive volume of War and Peace — my exact feeling of accomplishment after reading that doorstop. Latisha Baker burnt a delicate line drawing of a woman into wood (the technique is deliciously named “pyrography”). Makeda Rashid’s “Lavender Thoughts” hints at further layers of complexity in the African American community, showing a young man examining his dreadlocks, while menaced or enticed by a lavender cloud above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The modernist toolkit is very much in use here. Aside from more cubism than you can shake a stick at, I saw constructivist, impressionist, and even fauvist breakdowns of faces, figures, and scenes. Hilda Robinson’s glowing pastel “Sista’s” recalls Degas and Toulouse-Lautrec in its snapshot of two women in their club gear. Jason Austin’s drawing “Soul” nods to both pop culture graphics and geometric distortion, partly depicting a singer at, and partly hiding him behind, his microphone. Jimi L. Evins, one of the show’s standouts, transforms multiform fields of color into oceans, horizons, and prisons in “The Migration Series.” An object lesson in what these tools are actually for: analysis, contemplation, a revelation of dictatorial narrative. A visual seminar on the black face and the black space.\u003c/p>\n\u003cp>The most delightful recurring theme, however, was the subtle visual irony running throughout the show, contrasting with occasionally clunky verbal jokes: Mark Dukes’s “Holy Faces of St. Sambo” employs a bludgeoning written satire over a bizarrely funny parody of an Eastern Orthodox icon; Monica Clark’s “King David” depicts in charcoal a cartoonish lion’s face (a la “Lion King”) with yellow human eyes, challenging and proud; Yasmin Sayyed’s painting of the eye of a hurricane in a landscape is titled “Quiet Prayer.”\u003c/p>\n\u003cp>It feels unfair to continue picking out pieces in a show so full of strong work, but I have to mention the display of beaded and painted stuffed dolls by Karen Seneferu. The dolls seem to represent boys the artist knows, their titles hinting at familiar relationships: “Flyboy,” “Coolio Boy,” “I Just Want Five Feathers.” The beading patterns and feathers suggest a faux tribalism, but the wide-eyed, painted faces are purely contemporary. Like much of the work in \u003cb>The Art of Living Black\u003c/b> Seneferu’s dolls integrate multiple awarenesses: of the community’s cultural history, of the artist’s current milieu and the context in which the work is being produced, of the dangers of perception for artists working with beads and seeds (another popular theme in the show), and of the expectations of “urban” art.\u003c/p>\n\u003cp>I suppose you could say that this — as much as anything — is what \u003cb>The Art of Living Black\u003c/b> is about: representing in art a complex consciousness. But I think that phrase is too general. The language of the exhibition is entirely visual, and very specific to its context. You have to see it, to hear it.\u003c/p>\n\u003cp>By the way, Obama is not forgotten. Deep into the show we see a painting by Milton Tuitt of Barack taking a picture of Michelle. Flanked by his two daughters, the president’s face is hidden by the camera. It is their gaze in which Michelle is captured this time; it is the black man’s eye in the viewfinder, black children who are the audience, the black woman lovingly beheld. This picture should be the caption for the whole show: it is not tables turning, but merely a question of who is observing whom, and what that makes them see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Art of Living Black\u003c/b> runs through March 14, 2009 at the \u003ca href=\"http://www.therichmondartcenter.org/\">Richmond Art Center\u003c/a>. The exhibition encompasses two weekends of open studios on March 7/8 and March 14/15, as well as satellite exhibitions and a self-guided tour. Don’t neglect to check out the companion exhibition \u003cb>Barbershop and Beauty Shop\u003c/b> curated by Herschel West, an interactive multimedia show about the culture of African American hairstyling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just stop lying to me. What I expect from the people in my life, I want from my art. So I want to believe the artists working at Creativity Explored, a gallery and workshop for artists with developmental disabilities, are being honest. That they make work straight from their souls and are guileless in a way artists without developmental disabilities are not. Yes, this is a condescending generality, a fetishization of a vulnerable population, and a false dichotomy between the purified realm of “outsider art” and the duplicitous cunning of the art world. Yeah, yeah.\u003c/p>\n\u003cp>I just know I liked the work in \u003cb>Legend: Myth and Memory\u003c/b>, on display through February 25, 2009. The show, curated by Gilles Combet, includes art that mixes words with images. The curatorial statement reads, “In the case of Creativity Explored’s many studio artists…some of whom do not speak, making art that brings images and text together can become a powerful way to communicate stories that often remain untold.” The suggestion of a long-suppressed narrative coming to light pulled me in, but it isn’t the reason I stayed. I stuck around for the juxtapositions — disturbing, pleasing, absurd — between text and pictures.\u003c/p>\n\u003cp>James Miles’s transportation-themed images use geometric compositions to portray stories of travel. A simple tableau of his mother and father in a brown sedan with red wheels comes with this text: “Mom and dad go driving in the car to shop. Food drinks milk…cheese carrot celery.” With the addition of an explanation and brief grocery list¸ a quotidian act becomes intimate. Miles’s night sky, created by indigo pastel on black paper, buoys and envelops the entire scene.\u003c/p>\n\u003cp>A lot of artists without developmental disabilities make work that looks like this. Some even have MFAs from fancy art schools. They employ a faux-naïve approach, as though there is something inherently authentic in that style. I like some of that work, some of those cryptic shapes and taxonomies, but am also wary of it. It feels a little too self aware. Can you really be naïve if you know you’re being naïve? Just because you dress in kid’s clothes doesn’t mean you’re suddenly 8 years old again.\u003c/p>\n\u003cp>I spent the most time with artist Camille Holvoet’s work. Holvoet paints images of sugary sweet confection — cupcakes and layer cakes and bowls of candy — using the pastries as a template to experiment with color and form. Onto these images, she writes stories about living in an institution, about being left out, and in one, asks why losing weight feels so much like loss. Amazingly, the narratives don’t subvert the images. Somehow they coexist, and a duality emerges: Life is both sugary sweet and a nightmare at the same time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe, unlike a lot of the heartfelt messages I both dodge and absorb each day, I let myself believe she was sincere. That she really had these questions and that these stories lived in her head every day. And that’s when I cried. I’m not saying it was necessarily the form or appearance of the work that was affecting, as much as my belief in its authenticity. Because I don’t care what you say, I just want you to mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Legend, Myth, and Memory\u003c/b> includes work by nearly fifteen artists. It is on display at Creativity Explored, 3245 16th St., San Francisco, through February 25, 2009. For more information, call 415-863-2108.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just stop lying to me. What I expect from the people in my life, I want from my art. So I want to believe the artists working at Creativity Explored, a gallery and workshop for artists with developmental disabilities, are being honest. That they make work straight from their souls and are guileless in a way artists without developmental disabilities are not. Yes, this is a condescending generality, a fetishization of a vulnerable population, and a false dichotomy between the purified realm of “outsider art” and the duplicitous cunning of the art world. Yeah, yeah.\u003c/p>\n\u003cp>I just know I liked the work in \u003cb>Legend: Myth and Memory\u003c/b>, on display through February 25, 2009. The show, curated by Gilles Combet, includes art that mixes words with images. The curatorial statement reads, “In the case of Creativity Explored’s many studio artists…some of whom do not speak, making art that brings images and text together can become a powerful way to communicate stories that often remain untold.” The suggestion of a long-suppressed narrative coming to light pulled me in, but it isn’t the reason I stayed. I stuck around for the juxtapositions — disturbing, pleasing, absurd — between text and pictures.\u003c/p>\n\u003cp>James Miles’s transportation-themed images use geometric compositions to portray stories of travel. A simple tableau of his mother and father in a brown sedan with red wheels comes with this text: “Mom and dad go driving in the car to shop. Food drinks milk…cheese carrot celery.” With the addition of an explanation and brief grocery list¸ a quotidian act becomes intimate. Miles’s night sky, created by indigo pastel on black paper, buoys and envelops the entire scene.\u003c/p>\n\u003cp>A lot of artists without developmental disabilities make work that looks like this. Some even have MFAs from fancy art schools. They employ a faux-naïve approach, as though there is something inherently authentic in that style. I like some of that work, some of those cryptic shapes and taxonomies, but am also wary of it. It feels a little too self aware. Can you really be naïve if you know you’re being naïve? Just because you dress in kid’s clothes doesn’t mean you’re suddenly 8 years old again.\u003c/p>\n\u003cp>I spent the most time with artist Camille Holvoet’s work. Holvoet paints images of sugary sweet confection — cupcakes and layer cakes and bowls of candy — using the pastries as a template to experiment with color and form. Onto these images, she writes stories about living in an institution, about being left out, and in one, asks why losing weight feels so much like loss. Amazingly, the narratives don’t subvert the images. Somehow they coexist, and a duality emerges: Life is both sugary sweet and a nightmare at the same time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe, unlike a lot of the heartfelt messages I both dodge and absorb each day, I let myself believe she was sincere. That she really had these questions and that these stories lived in her head every day. And that’s when I cried. I’m not saying it was necessarily the form or appearance of the work that was affecting, as much as my belief in its authenticity. Because I don’t care what you say, I just want you to mean it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Legend, Myth, and Memory\u003c/b> includes work by nearly fifteen artists. It is on display at Creativity Explored, 3245 16th St., San Francisco, through February 25, 2009. For more information, call 415-863-2108.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jake Longstreth: All It Is",
"headTitle": "Jake Longstreth: All It Is | KQED",
"content": "\u003cp>I drove by a Jake Longstreth painting last month. Just outside of Reno, although it could’ve been Ohio or Indiana. Cresting hills on I-80, I pointed to a beige building that once housed a Super K-Mart. Now deserted, it was surrounded by a sprawling city oversaturated with chain stores, ringed by housing developments whose residents can’t pay their bills. (Nevada had the nation’s highest foreclosure rate in 2008.) Longstreth, an Oakland artist, paints suburban sameness in the form of big box stores, oleander bushes, tennis courts, and swimming pools — the ubiquitous details of the landscape meant to indicate material abundance and leisure. He’s been driving across the country capturing these bleak scenes for several years, but his perspective seems particularly relevant right now.\u003c/p>\n\u003cp>While Longstreth’s images of vacant construction sites and tennis courts once read as dispatches from an ever expanding suburban sprawl, they now appear as glimpses of a ruinous future; a preview of what it will look like when all the people have moved out. A small selection of the artist’s recent work is on display at the Gregory Lind Gallery through January 31, 2009. \u003cb>All it is\u003c/b> asks viewers not to get their hopes up; it presents nine scenes that are understated, stark, and just outside your car window.\u003c/p>\n\u003cp>Longstreth strips landscapes to their essentials, framing the dreary day-to-day views that come before our eyes but rarely register on our brains. In \u003cb>Sonoma\u003c/b>, a blanched store wall serves as support for a red sign spelling “pharmacy” in capital letters. The Sonoma region is better known, of course, for its vistas of vineyards and rolling hills than its Targets or Wal-Marts. But Longstreth shows us how these uniform scenes, on view across the country, are equally accurate portraits of place. \u003cb>Small Town In-Ground\u003c/b> showcases a suburban status symbol — the backyard swimming pool. Empty of people, framed by shadows and trees, the icy body of water perfectly communicates the lonesomeness that can pervade the suburbs. What did we sacrifice to get here?\u003c/p>\n\u003cp>Longstreth’s paintings appear at a turning point in suburban meaning, as one-time symbols of middle-class comfort now emblemize failed dreams and mass displacement. I want to know what the next post-apocalyptic landscape will look like. I picture a foreclosure-ridden, post-suburban frightscape, in which empty big box stores become home to roving bands of gypsies and skateboarders finally have free reign over the parking lots.\u003c/p>\n\u003cp>\u003cb>All it is\u003c/b> is at the Gregory Lind Gallery, 49 Geary St., San Francisco, through January 31, 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I drove by a Jake Longstreth painting last month. Just outside of Reno, although it could’ve been Ohio or Indiana. Cresting hills on I-80, I pointed to a beige building that once housed a Super K-Mart. Now deserted, it was surrounded by a sprawling city oversaturated with chain stores, ringed by housing developments whose residents can’t pay their bills. (Nevada had the nation’s highest foreclosure rate in 2008.) Longstreth, an Oakland artist, paints suburban sameness in the form of big box stores, oleander bushes, tennis courts, and swimming pools — the ubiquitous details of the landscape meant to indicate material abundance and leisure. He’s been driving across the country capturing these bleak scenes for several years, but his perspective seems particularly relevant right now.\u003c/p>\n\u003cp>While Longstreth’s images of vacant construction sites and tennis courts once read as dispatches from an ever expanding suburban sprawl, they now appear as glimpses of a ruinous future; a preview of what it will look like when all the people have moved out. A small selection of the artist’s recent work is on display at the Gregory Lind Gallery through January 31, 2009. \u003cb>All it is\u003c/b> asks viewers not to get their hopes up; it presents nine scenes that are understated, stark, and just outside your car window.\u003c/p>\n\u003cp>Longstreth strips landscapes to their essentials, framing the dreary day-to-day views that come before our eyes but rarely register on our brains. In \u003cb>Sonoma\u003c/b>, a blanched store wall serves as support for a red sign spelling “pharmacy” in capital letters. The Sonoma region is better known, of course, for its vistas of vineyards and rolling hills than its Targets or Wal-Marts. But Longstreth shows us how these uniform scenes, on view across the country, are equally accurate portraits of place. \u003cb>Small Town In-Ground\u003c/b> showcases a suburban status symbol — the backyard swimming pool. Empty of people, framed by shadows and trees, the icy body of water perfectly communicates the lonesomeness that can pervade the suburbs. What did we sacrifice to get here?\u003c/p>\n\u003cp>Longstreth’s paintings appear at a turning point in suburban meaning, as one-time symbols of middle-class comfort now emblemize failed dreams and mass displacement. I want to know what the next post-apocalyptic landscape will look like. I picture a foreclosure-ridden, post-suburban frightscape, in which empty big box stores become home to roving bands of gypsies and skateboarders finally have free reign over the parking lots.\u003c/p>\n\u003cp>\u003cb>All it is\u003c/b> is at the Gregory Lind Gallery, 49 Geary St., San Francisco, through January 31, 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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": "\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",
"headTitle": "Gently Forcing the Question: SFMOMA’s The Art of Participation | KQED",
"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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"soldout": {
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