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"content": "\u003cp>Animals are arguably easier to draw than humans but perhaps they become the subject of artists because they allow for a more subtle communication of complex topics. “A Complicated Dominion” is a group exhibition featuring five artists who use animals to tell a human history without ever depicting any of us habitat-destroying jerks.\u003c/p>\n\u003cp>Initially on the lookout for Tara Tucker’s “plantimal” sculptures of sheep with trees growing from their backs, I was derailed behind a black curtain to James Drake’s three-channel video installation, \u003cb>City of Tells\u003c/b>. The triad of screens played time-lapsed videos of unoccupied, fully-set dinner tables complete with roasted turkeys, flowers, and wine glasses. On the left screen, a mangy pig wandered up to the table and helped himself to the meal. On the right, a giant python slithered in, sniffing the turkey with his forked tongue and crushing salads with his hefty body. Looking back to the pig, I saw he’d multiplied and his gang of savage beasts was now tearing the table to shreds. The scene was filthy but momentarily glorious when a flower arrangement was squished between two pigs, then knocked over and eaten. Back in snake territory, a white chicken had appeared and was perched on top of the turkey. The live image of an enormous reptile circling a live bird sitting atop a cooked bird was a bit sickening. I quickly tried to predict the future of this video, wondering whether or not PETA cares about killing chickens in the name of art. The table on the middle screen, by the way, didn’t get much action other than a hummingbird visitor and a few furry passersby in the background. It was an outdoor table, and its most notable moment happened when the scene faded to nighttime darkness and only random flashes of light on the glassware could be seen.\u003c/p>\n\u003cp>Back to the chicken! The snake inched closer, but the chicken paid no mind. When it started to look really bad for the chicken and he and the snake were about to get kissy-face, everything faded to black. The videos were created in an edition of eight, and when they started up again, the snake vs. chicken fiasco was replaced with a harmless horse sniffing the dinner table. It was as if the artist knew that I far prefer ponies to snakes. Not until I left the installation room did I realize the piece had a soundtrack — eerie sounds akin to white noise composed by Pascal Dusapin. Immediately obsessed with making meaning of this visceral experience, I came up with nothing but faint memories of reading Orwell’s \u003cb>Animal Farm\u003c/b> in the eighth grade. But Meredith Tromble’s catalogue essay, “Small Powers” shed some light. She proposed that the image of the unruffled chicken being stalked by the snake “may be saying that we, in our domestic comfort, are similarly gazing stupidly at mortal danger.” \u003c/p>\n\u003cp>Tara Tucker’s sheep, \u003cb>Forest Ewe, Lamb, and Ram\u003c/b> were expertly crafted in mixed media with tree roots that appeared to fuse with their skeletal structures. Surprisingly, I read the sculptures differently in the catalogue’s promotional photo because they were shown faced inward in a sheep huddle. Faced outward on separate pedestals in the exhibition, they seemed to lack the narrative the alternate positioning suggested. But the “plantimal” message is more about the possibilities of our future — of Tucker’s similar hybrid plant-animal drawings, Tromble’s essay points out the lack of background and suggests that the creatures might “come from a future we can’t see because we are not part of it.” The same could be said of Tiffany Bozic’s divinely rendered acrylic-on-maple paintings of entangled sea life and Drake’s \u003cb>City of Tells\u003c/b> installation. On a final note, Liev Fagereng’s painting of a \u003cb>Suburban Owl\u003c/b> high above a city’s lights holding a dead rat in its beak was the piece I’d most like to take home, possibly because of the artist’s remarkable painting style and the fact that owls are awesome and rats are dreadful.\u003c/p>\n\u003cp>“A Complicated Dominion” is on view through August 16th, 2008, and a brown bag lunchtime discussion with artist Tiffany Bozic will be held on July 23rd at Noon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Animals are arguably easier to draw than humans but perhaps they become the subject of artists because they allow for a more subtle communication of complex topics. “A Complicated Dominion” is a group exhibition featuring five artists who use animals to tell a human history without ever depicting any of us habitat-destroying jerks.\u003c/p>\n\u003cp>Initially on the lookout for Tara Tucker’s “plantimal” sculptures of sheep with trees growing from their backs, I was derailed behind a black curtain to James Drake’s three-channel video installation, \u003cb>City of Tells\u003c/b>. The triad of screens played time-lapsed videos of unoccupied, fully-set dinner tables complete with roasted turkeys, flowers, and wine glasses. On the left screen, a mangy pig wandered up to the table and helped himself to the meal. On the right, a giant python slithered in, sniffing the turkey with his forked tongue and crushing salads with his hefty body. Looking back to the pig, I saw he’d multiplied and his gang of savage beasts was now tearing the table to shreds. The scene was filthy but momentarily glorious when a flower arrangement was squished between two pigs, then knocked over and eaten. Back in snake territory, a white chicken had appeared and was perched on top of the turkey. The live image of an enormous reptile circling a live bird sitting atop a cooked bird was a bit sickening. I quickly tried to predict the future of this video, wondering whether or not PETA cares about killing chickens in the name of art. The table on the middle screen, by the way, didn’t get much action other than a hummingbird visitor and a few furry passersby in the background. It was an outdoor table, and its most notable moment happened when the scene faded to nighttime darkness and only random flashes of light on the glassware could be seen.\u003c/p>\n\u003cp>Back to the chicken! The snake inched closer, but the chicken paid no mind. When it started to look really bad for the chicken and he and the snake were about to get kissy-face, everything faded to black. The videos were created in an edition of eight, and when they started up again, the snake vs. chicken fiasco was replaced with a harmless horse sniffing the dinner table. It was as if the artist knew that I far prefer ponies to snakes. Not until I left the installation room did I realize the piece had a soundtrack — eerie sounds akin to white noise composed by Pascal Dusapin. Immediately obsessed with making meaning of this visceral experience, I came up with nothing but faint memories of reading Orwell’s \u003cb>Animal Farm\u003c/b> in the eighth grade. But Meredith Tromble’s catalogue essay, “Small Powers” shed some light. She proposed that the image of the unruffled chicken being stalked by the snake “may be saying that we, in our domestic comfort, are similarly gazing stupidly at mortal danger.” \u003c/p>\n\u003cp>Tara Tucker’s sheep, \u003cb>Forest Ewe, Lamb, and Ram\u003c/b> were expertly crafted in mixed media with tree roots that appeared to fuse with their skeletal structures. Surprisingly, I read the sculptures differently in the catalogue’s promotional photo because they were shown faced inward in a sheep huddle. Faced outward on separate pedestals in the exhibition, they seemed to lack the narrative the alternate positioning suggested. But the “plantimal” message is more about the possibilities of our future — of Tucker’s similar hybrid plant-animal drawings, Tromble’s essay points out the lack of background and suggests that the creatures might “come from a future we can’t see because we are not part of it.” The same could be said of Tiffany Bozic’s divinely rendered acrylic-on-maple paintings of entangled sea life and Drake’s \u003cb>City of Tells\u003c/b> installation. On a final note, Liev Fagereng’s painting of a \u003cb>Suburban Owl\u003c/b> high above a city’s lights holding a dead rat in its beak was the piece I’d most like to take home, possibly because of the artist’s remarkable painting style and the fact that owls are awesome and rats are dreadful.\u003c/p>\n\u003cp>“A Complicated Dominion” is on view through August 16th, 2008, and a brown bag lunchtime discussion with artist Tiffany Bozic will be held on July 23rd at Noon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When my dad died last year, my brother and I inherited everything. Not money, but things: toothbrushes and oak boxes and expired prescription bottles. Sorting through it all, I was struck by each object’s ability to conjure a scenario, and with it, a piece of my dad’s personality. A worn duffel bag with a travel agency logo on its front, filled with headphones, a book of crossword puzzles, and a pair of flip-flops, still packed from his last trip to the beach, reminded me how much he loved the ocean. Each tangible object referred to an intangible memory or quality. Rather than meaningless junk, the mundane contents of his apartment became a stand-in for all that was immaterial: his impulses, motivations, losses, and loves.\u003c/p>\n\u003cp>We often cling to heirlooms left behind by a past relationship or loved one, aware but unfazed by their failure to fully recapture the experience or person they represent. Our sentimental attachment and its inevitable failure is the subject of \u003cb>An Archive of Feelings\u003c/b>, photographer Tammy Rae Carland’s current exhibit at the Silverman Gallery. The title refers to a seminal text on queer identity and trauma by Ann Cvetkovich. It also refers to an impossible task: the preservation and organization of emotion. Carland knows this impossibility, and so she presents us with an archive of photographed objects, a series of purposely imperfect substitutes for feelings and memories.\u003c/p>\n\u003cp>I thought \u003cb>One Love Leads to Another\u003c/b> and \u003cb>My Inheritance\u003c/b> were the strongest pieces in the exhibit. The former is a collection of mix tapes photographed against a white background. The tapes face us like artifacts in an archaeological exhibit, and we mine their labels and song lists for meaning. The collection of obsolete technology points to a bygone community of givers and receivers. Titles and playlists convey emotion and meaning. The network of cassettes also references Carland’s history in the music business as one of the co-founders of the Mr. Lady record label. But the tapes also fail. We can’t hear the music, and we can’t see the faces of the tapes’ makers. We can’t experience the long hours Carland spent with her friends listening to the tapes. Like an incomplete body of evidence, the cassettes hint at a world that has already happened, a place we can’t visit or recreate. Does anyone even still own a tape player?\u003c/p>\n\u003cp>Maybe I liked \u003cb>My Inheritance\u003c/b> so much because it related so directly to my own experience. In it, Carland has gathered together and photographed objects left after her mother’s death. The materials suggest a life interrupted, a task started and left unfinished. We see the frayed knot of a “Born to Bingo” cross-stitch project, a box of stationery with numbers and equations written on its front. Inside, a recipe for holiday fruitcake and a receipt. An unfinished crossword puzzle and the beginnings of a quilt. The objects capture her mother’s motions, her jotted down thoughts and scribbles, her intentions and activities. More than death, the objects in the photograph reference her mother’s life. But they are also unsatisfactory. The collection feels paltry. That’s it? That’s all that’s left? The loss is amplified by the objects’ inability to represent the deceased in all her complexity and humanity.\u003c/p>\n\u003cp>Carland uses photography to great effect in this exhibit. The photograph is a trace, Roland Barthes famously wrote, a document of something that has already happened. It is always in the past tense. By photographing, rather than displaying, these artifacts, Carland further removes them from the present tense. She multiplies the sense of loss on display. A folded broadsheet of \u003cb>My Inheritance\u003c/b> is available at the exhibit. Printed on its backside is the question, “Who will record the history of tears?” It has no answer, but the asking reflects a natural urge — to hold and quantify the intangible. That impulse underlies all the works in this exhibit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>An Archive of Feelings\u003c/b> is on display at Silverman Gallery, 804 Sutter St., San Francisco, through Sunday, July 27, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When my dad died last year, my brother and I inherited everything. Not money, but things: toothbrushes and oak boxes and expired prescription bottles. Sorting through it all, I was struck by each object’s ability to conjure a scenario, and with it, a piece of my dad’s personality. A worn duffel bag with a travel agency logo on its front, filled with headphones, a book of crossword puzzles, and a pair of flip-flops, still packed from his last trip to the beach, reminded me how much he loved the ocean. Each tangible object referred to an intangible memory or quality. Rather than meaningless junk, the mundane contents of his apartment became a stand-in for all that was immaterial: his impulses, motivations, losses, and loves.\u003c/p>\n\u003cp>We often cling to heirlooms left behind by a past relationship or loved one, aware but unfazed by their failure to fully recapture the experience or person they represent. Our sentimental attachment and its inevitable failure is the subject of \u003cb>An Archive of Feelings\u003c/b>, photographer Tammy Rae Carland’s current exhibit at the Silverman Gallery. The title refers to a seminal text on queer identity and trauma by Ann Cvetkovich. It also refers to an impossible task: the preservation and organization of emotion. Carland knows this impossibility, and so she presents us with an archive of photographed objects, a series of purposely imperfect substitutes for feelings and memories.\u003c/p>\n\u003cp>I thought \u003cb>One Love Leads to Another\u003c/b> and \u003cb>My Inheritance\u003c/b> were the strongest pieces in the exhibit. The former is a collection of mix tapes photographed against a white background. The tapes face us like artifacts in an archaeological exhibit, and we mine their labels and song lists for meaning. The collection of obsolete technology points to a bygone community of givers and receivers. Titles and playlists convey emotion and meaning. The network of cassettes also references Carland’s history in the music business as one of the co-founders of the Mr. Lady record label. But the tapes also fail. We can’t hear the music, and we can’t see the faces of the tapes’ makers. We can’t experience the long hours Carland spent with her friends listening to the tapes. Like an incomplete body of evidence, the cassettes hint at a world that has already happened, a place we can’t visit or recreate. Does anyone even still own a tape player?\u003c/p>\n\u003cp>Maybe I liked \u003cb>My Inheritance\u003c/b> so much because it related so directly to my own experience. In it, Carland has gathered together and photographed objects left after her mother’s death. The materials suggest a life interrupted, a task started and left unfinished. We see the frayed knot of a “Born to Bingo” cross-stitch project, a box of stationery with numbers and equations written on its front. Inside, a recipe for holiday fruitcake and a receipt. An unfinished crossword puzzle and the beginnings of a quilt. The objects capture her mother’s motions, her jotted down thoughts and scribbles, her intentions and activities. More than death, the objects in the photograph reference her mother’s life. But they are also unsatisfactory. The collection feels paltry. That’s it? That’s all that’s left? The loss is amplified by the objects’ inability to represent the deceased in all her complexity and humanity.\u003c/p>\n\u003cp>Carland uses photography to great effect in this exhibit. The photograph is a trace, Roland Barthes famously wrote, a document of something that has already happened. It is always in the past tense. By photographing, rather than displaying, these artifacts, Carland further removes them from the present tense. She multiplies the sense of loss on display. A folded broadsheet of \u003cb>My Inheritance\u003c/b> is available at the exhibit. Printed on its backside is the question, “Who will record the history of tears?” It has no answer, but the asking reflects a natural urge — to hold and quantify the intangible. That impulse underlies all the works in this exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a child, I often watched my mother grind pigments as she prepared to paint. She mixed them in tiny white porcelain cups, and set her papers and brushes out on the kitchen table. She painted a wide variety of subjects, but favored plants, flowers, and other botanical subjects.\u003c/p>\n\u003cp>Because my mother loved to paint flowers, I continue to associate the phrase “botanical illustration” with women’s work. I can’t help but think of Victorian lady naturalists, painting away in their mutton-chop sleeves. Fragile, yet precise, these Victorian paintings of flowers and leaves exude a strange intensity. Flowers seem an odd, yet appropriate, way to sublimate sexuality.\u003c/p>\n\u003cp>Last Wednesday, I walked down Market Street to Rare Device to see a small suite of watercolors and collages by the Boston artist \u003ca href=\"http://www.amyross.com\" target=\"offsite\" rel=\"noopener\">Amy Ross\u003c/a>. Ross’s paintings have all the strange, fragile intensity of Victorian botanical illustration. Botanical subjects are often surreal all on their own, plants exhibiting a bizarre and disturbing similarity to flesh. Just think of an aloe’s succulent leaves. Certain orchids are almost obscene. Ross takes that resemblance in a different direction.\u003c/p>\n\u003cp>In her statement, Ross writes, “My drawings offer visual hypotheses to the question: what would happen if the DNA sequence of a plant or mushroom were spliced with that of an animal?”\u003c/p>\n\u003cp>At Rare Device, we find rabbits twisting out of flower buds, woodpecker heads collaged to mushroom bodies, and in my favorite plant-animal hybrid painting, a pure white magnolia bud contorts, and becomes a floppy-eared goat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ross’s paintings are somewhat disturbing, but seldom offensive. Her pieces exhibit fine brushwork and a delicate sense of color. These hybrid animal-plants are too delicate to be menacing. Ross’s plants hide their deformities well. At first glance, these hybrids are merely beautiful. Over time, as the eye uncovers more detail — in the colors, the brushwork, and the careful shifting of form — the painting develops an edge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All but one of the pieces on view at Rare Device contain “shapeshifters.” \u003cb>Pig Pile\u003c/b>, the only painting without these plant-animal hybrids, depicts a pile of tiny pigs, apparently nose-deep in snow. The pigs lie in a grove of aspens. It is one of Ross’s most straightforward pieces, just a watercolor of some pigs in the woods, yet it is also the most powerful piece in the show. In a few strokes, Ross captures the aspens’ eye-shaped boles, the piglets’ soft, smooth hides. The white space suggests snow, and deep winter. Like a scene out of a fairytale, “Pig Pile” is strange and haunting, and a little melancholy. All is not right in this world. And we wouldn’t have it any other way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ross’s paintings are somewhat disturbing, but seldom offensive. Her pieces exhibit fine brushwork and a delicate sense of color. These hybrid animal-plants are too delicate to be menacing. Ross’s plants hide their deformities well. At first glance, these hybrids are merely beautiful. Over time, as the eye uncovers more detail — in the colors, the brushwork, and the careful shifting of form — the painting develops an edge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All but one of the pieces on view at Rare Device contain “shapeshifters.” \u003cb>Pig Pile\u003c/b>, the only painting without these plant-animal hybrids, depicts a pile of tiny pigs, apparently nose-deep in snow. The pigs lie in a grove of aspens. It is one of Ross’s most straightforward pieces, just a watercolor of some pigs in the woods, yet it is also the most powerful piece in the show. In a few strokes, Ross captures the aspens’ eye-shaped boles, the piglets’ soft, smooth hides. The white space suggests snow, and deep winter. Like a scene out of a fairytale, “Pig Pile” is strange and haunting, and a little melancholy. All is not right in this world. And we wouldn’t have it any other way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While in New York, I was lucky enough to catch the last night of the \u003ca href=\"http://whitney.org/www/2008biennial/www/?section=artists/\" target=\"offsite\" rel=\"noopener\">Whitney Biennial\u003c/a>. The unlucky part was seeing the exhibit and parts of the collection at an undesirably fast pace just before it closed, but it was still my best and most packed art-viewing excursion. On the outside of the building, big letters indicate that you are about to be faced with endless artwork \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304224/sizes/l/\" target=\"offsite\" rel=\"noopener\">as far as the eye can see\u003c/a>. We started on the first floor and dropped some knowledge into a broadcasting microphone, part of Neighborhood Public Radio’s installation. \u003ca href=\"http://www.neighborhoodpublicradio.org/\" target=\"offsite\" rel=\"noopener\">NPR\u003c/a> is a San Francisco artist collective with a motto that reads: “If it’s in the neighborhood and it makes noise .. we hope to put it on the air.” Other local favorites in the Biennial were \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=4813\">Robert Bechtle\u003c/a>‘s photorealistic paintings and Mitzi Peterson’s glitter-encrusted cement blocks. I felt proud of my town. We may not have as many high-profile exhibitions as NY, but we produce the art-world equivalent of rock stars.\u003c/p>\n\u003cp>Some of the freshest work in the Biennial was that of LA artist Ry Rocklen who works with found junk repurposed in his studio. \u003cb>Refuge\u003c/b> was the skeleton of a mattress with nails painstakingly poked through each and every hole in its mesh covering. \u003cb>Blue Moon\u003c/b> was a collection of silver-leaf, kitschy framed pictures you get at carnivals and tacky gift shops: images of kittens, rearing unicorns, rainbow hearts and such. The frames appeared to be in their original stand-up cardboard display, which was bent into a half-circle so you could walk into it and get a good look at the faded, manufactured wall art. The pictures looked uniform, the same not-so-shiny gleam and depressing blue hue. Sadly, these unwanted relics from an age of cheap overindulgence never fulfilled their destiny. It might seem like Rocklen did something simple, found an old thing and tossed it in a museum a la Duchamp, but removing a familiar object from its context invokes feelings, memories and reflection in a much different way than a completely original creation does.\u003c/p>\n\u003cp>Here is my laundry list of other Biennial gems: Oakland native Jedediah Caesar’s shipping container-sized block appearing as melted rainbow wax, but actually made of pigmented resin on polystyrene — a beautifully hideous masterpiece. Heather Rowe’s \u003cb>Entrance (for some sites in dispute)\u003c/b> — a sculptural corridor made of plywood beams and shards of mirror — when you walked through it, your reflection would appear intermittently as you passed the mirror slivers, causing a feeling of fading invisible powers. And Mika Rottenberg’s large installation, a log cabin/chicken coop structure with several monitors playing her film, \u003cb>Cheese\u003c/b>, featuring extremely long-haired women milking goats. The installation was crowded and though I wanted to see more, time was running out.\u003c/p>\n\u003cp>Oh, did you think I was finished? Not even. There’s still the Whitney’s collection and the exhibition of Robert Mapplethorpe Poloroids. Pardon my nerdy-ness, but when I’m in New York, it’s like seeing art history textbooks come alive. I’ve been known to gasp loudly when I find myself confronted with a piece of art I’ve only read about. This is what happened when I found myself in front of the late Robert Rauschenberg’s works (1925-2008, RIP), one of which I’d just read about in Jonathan Katz’s 13-page article, “Committing the Perfect Crime: Sexuality, Assemblage and the Postmodern Turn in American Art.” The piece in question was \u003cb>Yoicks\u003c/b>, a large, mixed-media work of stripes and dots in green, yellow and red. Katz’s article mentioned the autobiographical nature of the heavily painted-over comics that were mixed into Rauschenberg’s works in the mid-50s and the fact that the stripes in \u003cb>Yoicks\u003c/b> represented the dialogue in which he was engaging with his then-boyfriend and studio mate Jasper Johns. Johns was concurrently creating the stars and stripes of his well-known painting, \u003cb>Flag\u003c/b>.\u003c/p>\n\u003cp>Next were three Claes Oldenburg beauties including a plate of fries with ketchup and a B.L.T. sewn out of soft vinyl and stuffed. They were accurately colored and pleasantly chunky. I flew past some Hoppers, Calders and other art history staples, and wound up in the Mapplethorpe exhibit of black-and-white Polaroids. Displayed for the first time were portraits of his friends: some known, some nude, and some anonymous. The immediacy of the medium and the relationship between photographer and subject conveyed vulnerability and hints of distinct moments in the artist’s life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, there it is. A mere sliver of the art I saw in New York City — a tiny flash of what is there to see. I didn’t get to see the New Museum or the Deitch Gallery or any of the myriad of other galleries and spaces I’d like to check out. I was sorry to miss the Takashi Murakami exhibit when it was in LA and even sorrier to miss it in New York at the Brooklyn Art Museum. Did anyone else see it? We now feature a comment box below, in case you feel like piping up. Did anyone actually read to the end of this post? If so, you deserve a candy heart with a gold ribbon. Talk to me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22908\">Greater New York, Part 1\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While in New York, I was lucky enough to catch the last night of the \u003ca href=\"http://whitney.org/www/2008biennial/www/?section=artists/\" target=\"offsite\" rel=\"noopener\">Whitney Biennial\u003c/a>. The unlucky part was seeing the exhibit and parts of the collection at an undesirably fast pace just before it closed, but it was still my best and most packed art-viewing excursion. On the outside of the building, big letters indicate that you are about to be faced with endless artwork \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304224/sizes/l/\" target=\"offsite\" rel=\"noopener\">as far as the eye can see\u003c/a>. We started on the first floor and dropped some knowledge into a broadcasting microphone, part of Neighborhood Public Radio’s installation. \u003ca href=\"http://www.neighborhoodpublicradio.org/\" target=\"offsite\" rel=\"noopener\">NPR\u003c/a> is a San Francisco artist collective with a motto that reads: “If it’s in the neighborhood and it makes noise .. we hope to put it on the air.” Other local favorites in the Biennial were \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=4813\">Robert Bechtle\u003c/a>‘s photorealistic paintings and Mitzi Peterson’s glitter-encrusted cement blocks. I felt proud of my town. We may not have as many high-profile exhibitions as NY, but we produce the art-world equivalent of rock stars.\u003c/p>\n\u003cp>Some of the freshest work in the Biennial was that of LA artist Ry Rocklen who works with found junk repurposed in his studio. \u003cb>Refuge\u003c/b> was the skeleton of a mattress with nails painstakingly poked through each and every hole in its mesh covering. \u003cb>Blue Moon\u003c/b> was a collection of silver-leaf, kitschy framed pictures you get at carnivals and tacky gift shops: images of kittens, rearing unicorns, rainbow hearts and such. The frames appeared to be in their original stand-up cardboard display, which was bent into a half-circle so you could walk into it and get a good look at the faded, manufactured wall art. The pictures looked uniform, the same not-so-shiny gleam and depressing blue hue. Sadly, these unwanted relics from an age of cheap overindulgence never fulfilled their destiny. It might seem like Rocklen did something simple, found an old thing and tossed it in a museum a la Duchamp, but removing a familiar object from its context invokes feelings, memories and reflection in a much different way than a completely original creation does.\u003c/p>\n\u003cp>Here is my laundry list of other Biennial gems: Oakland native Jedediah Caesar’s shipping container-sized block appearing as melted rainbow wax, but actually made of pigmented resin on polystyrene — a beautifully hideous masterpiece. Heather Rowe’s \u003cb>Entrance (for some sites in dispute)\u003c/b> — a sculptural corridor made of plywood beams and shards of mirror — when you walked through it, your reflection would appear intermittently as you passed the mirror slivers, causing a feeling of fading invisible powers. And Mika Rottenberg’s large installation, a log cabin/chicken coop structure with several monitors playing her film, \u003cb>Cheese\u003c/b>, featuring extremely long-haired women milking goats. The installation was crowded and though I wanted to see more, time was running out.\u003c/p>\n\u003cp>Oh, did you think I was finished? Not even. There’s still the Whitney’s collection and the exhibition of Robert Mapplethorpe Poloroids. Pardon my nerdy-ness, but when I’m in New York, it’s like seeing art history textbooks come alive. I’ve been known to gasp loudly when I find myself confronted with a piece of art I’ve only read about. This is what happened when I found myself in front of the late Robert Rauschenberg’s works (1925-2008, RIP), one of which I’d just read about in Jonathan Katz’s 13-page article, “Committing the Perfect Crime: Sexuality, Assemblage and the Postmodern Turn in American Art.” The piece in question was \u003cb>Yoicks\u003c/b>, a large, mixed-media work of stripes and dots in green, yellow and red. Katz’s article mentioned the autobiographical nature of the heavily painted-over comics that were mixed into Rauschenberg’s works in the mid-50s and the fact that the stripes in \u003cb>Yoicks\u003c/b> represented the dialogue in which he was engaging with his then-boyfriend and studio mate Jasper Johns. Johns was concurrently creating the stars and stripes of his well-known painting, \u003cb>Flag\u003c/b>.\u003c/p>\n\u003cp>Next were three Claes Oldenburg beauties including a plate of fries with ketchup and a B.L.T. sewn out of soft vinyl and stuffed. They were accurately colored and pleasantly chunky. I flew past some Hoppers, Calders and other art history staples, and wound up in the Mapplethorpe exhibit of black-and-white Polaroids. Displayed for the first time were portraits of his friends: some known, some nude, and some anonymous. The immediacy of the medium and the relationship between photographer and subject conveyed vulnerability and hints of distinct moments in the artist’s life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, there it is. A mere sliver of the art I saw in New York City — a tiny flash of what is there to see. I didn’t get to see the New Museum or the Deitch Gallery or any of the myriad of other galleries and spaces I’d like to check out. I was sorry to miss the Takashi Murakami exhibit when it was in LA and even sorrier to miss it in New York at the Brooklyn Art Museum. Did anyone else see it? We now feature a comment box below, in case you feel like piping up. Did anyone actually read to the end of this post? If so, you deserve a candy heart with a gold ribbon. Talk to me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22908\">Greater New York, Part 1\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As teenagers we would lie on our backs in East Bay parks and wait for the meteor shower to begin. Other summer nights my friends and I sat in suburban backyards, trying to pinpoint the Pleiades with our fingertips. We looked up because we were attracted to the sky: its mystery and possibility. And we clumsily tried to identify constellations, lying in the dirt waiting for shooting stars, because we longed to know and understand a small piece of its vastness.\u003c/p>\n\u003cp>Trevor Paglen’s current exhibition at the Berkeley Art Museum, \u003cb>The Other Night Sky\u003c/b>, reflects both of these impulses — the urge to wonder and the urge to know. An artist and geographer (he receives his PhD in the latter subject this summer), Paglen overlaps these two approaches in his work. He uses photography, once believed to be an objective tool of documentation, to highlight the limitations of sight, and by extension, knowledge. He aims his lens at obscured buildings, indistinct shapes, and unintelligible landmarks. One of his bodies of work involves photographing top-secret U.S. military bases in the Nevada desert from up to fifty miles away. The resulting images are like infrared landscapes; we can only stare at the colors and wonder what it is we are unable to see, trying to imagine the object that has eluded documentation.\u003c/p>\n\u003cp>The subject of \u003cb>The Other Night Sky\u003c/b> is government satellites, their prevalence and position in the sky. The eleven photographs and single installation call attention to these intruders, indistinguishable from stars or planets, orbiting and watching all that goes on below. The photographs resemble pages ripped from middle-school science books: a black or blue background with small specks of red, yellow, and white light, forming clusters and outlines of shapes. \u003cb>Keyhole 9-19, Near Vega\u003c/b>, \u003cb>DMSP-2 in Ursa Major\u003c/b>, \u003cb>Alex near Kappa Cassiopiea\u003c/b>. Cryptic titles are attached to each star-field. Standing in the gallery, I read each satellite’s name and location and then look back at the photographs. But I have no better understanding. Each piece of sky is still indistinguishable from the next.\u003c/p>\n\u003cp>“The images don’t tell you anything,” Paglen said when I called to ask him about his work. “You can do all this work and it’s just a little streak in the sky,” he said. Using scientific language and precision to produce such ambiguity creates a kind of poetry, he added. I felt it at times, walking from photograph to photograph, saw it flash for an instant: that slippery place where science falls in on itself and something else shines through.\u003c/p>\n\u003cp>At the rear of the gallery, behind a black curtain, the show’s single installation — its highpoint — hides. \u003cb>Active Military-Reconnaissance Satellites of the United States\u003c/b> is a large silkscreened globe, illuminated from within. Four slide projectors are positioned at the room’s corners, shining moving yellow dots across and around the sphere. A breathy noise plays in the background, similar to the sound of someone listening in on your phone call. The moving dots depict actual satellite locations; the ambient noise is sound from intercepted satellite transmissions. But the satisfaction I felt upon looking at the installation didn’t come from any information it provided. It came because I felt like I had walked into a child’s bedroom; a 6-year-old was hiding beneath the blankets with a flashlight in hand, casting shadows on the walls and making up stories about aliens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his efforts to expose the sky, its secret orbiters and galaxies, Paglen produces a kind of backlash. Rather than dull, the sky becomes more mysterious and unknowable. The installation best captures this intentional side effect. Most people who write about Paglen’s work focus on its literal subject, because it’s “something easy to grab on to,” he said. But he’s less interested in the U.S. government’s shadowy otherworld than the threshold of seeing and knowing. Top-secret military bases and government satellites are just a means to an end. “So you’re not a conspiracy theorist?” I asked him. He laughed. “No, not at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Other Night Sky\u003c/b> is at the Berkeley Art Museum through September 14, 2008. BAM is located at 2626 Bancroft Way, Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As teenagers we would lie on our backs in East Bay parks and wait for the meteor shower to begin. Other summer nights my friends and I sat in suburban backyards, trying to pinpoint the Pleiades with our fingertips. We looked up because we were attracted to the sky: its mystery and possibility. And we clumsily tried to identify constellations, lying in the dirt waiting for shooting stars, because we longed to know and understand a small piece of its vastness.\u003c/p>\n\u003cp>Trevor Paglen’s current exhibition at the Berkeley Art Museum, \u003cb>The Other Night Sky\u003c/b>, reflects both of these impulses — the urge to wonder and the urge to know. An artist and geographer (he receives his PhD in the latter subject this summer), Paglen overlaps these two approaches in his work. He uses photography, once believed to be an objective tool of documentation, to highlight the limitations of sight, and by extension, knowledge. He aims his lens at obscured buildings, indistinct shapes, and unintelligible landmarks. One of his bodies of work involves photographing top-secret U.S. military bases in the Nevada desert from up to fifty miles away. The resulting images are like infrared landscapes; we can only stare at the colors and wonder what it is we are unable to see, trying to imagine the object that has eluded documentation.\u003c/p>\n\u003cp>The subject of \u003cb>The Other Night Sky\u003c/b> is government satellites, their prevalence and position in the sky. The eleven photographs and single installation call attention to these intruders, indistinguishable from stars or planets, orbiting and watching all that goes on below. The photographs resemble pages ripped from middle-school science books: a black or blue background with small specks of red, yellow, and white light, forming clusters and outlines of shapes. \u003cb>Keyhole 9-19, Near Vega\u003c/b>, \u003cb>DMSP-2 in Ursa Major\u003c/b>, \u003cb>Alex near Kappa Cassiopiea\u003c/b>. Cryptic titles are attached to each star-field. Standing in the gallery, I read each satellite’s name and location and then look back at the photographs. But I have no better understanding. Each piece of sky is still indistinguishable from the next.\u003c/p>\n\u003cp>“The images don’t tell you anything,” Paglen said when I called to ask him about his work. “You can do all this work and it’s just a little streak in the sky,” he said. Using scientific language and precision to produce such ambiguity creates a kind of poetry, he added. I felt it at times, walking from photograph to photograph, saw it flash for an instant: that slippery place where science falls in on itself and something else shines through.\u003c/p>\n\u003cp>At the rear of the gallery, behind a black curtain, the show’s single installation — its highpoint — hides. \u003cb>Active Military-Reconnaissance Satellites of the United States\u003c/b> is a large silkscreened globe, illuminated from within. Four slide projectors are positioned at the room’s corners, shining moving yellow dots across and around the sphere. A breathy noise plays in the background, similar to the sound of someone listening in on your phone call. The moving dots depict actual satellite locations; the ambient noise is sound from intercepted satellite transmissions. But the satisfaction I felt upon looking at the installation didn’t come from any information it provided. It came because I felt like I had walked into a child’s bedroom; a 6-year-old was hiding beneath the blankets with a flashlight in hand, casting shadows on the walls and making up stories about aliens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his efforts to expose the sky, its secret orbiters and galaxies, Paglen produces a kind of backlash. Rather than dull, the sky becomes more mysterious and unknowable. The installation best captures this intentional side effect. Most people who write about Paglen’s work focus on its literal subject, because it’s “something easy to grab on to,” he said. But he’s less interested in the U.S. government’s shadowy otherworld than the threshold of seeing and knowing. Top-secret military bases and government satellites are just a means to an end. “So you’re not a conspiracy theorist?” I asked him. He laughed. “No, not at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Other Night Sky\u003c/b> is at the Berkeley Art Museum through September 14, 2008. BAM is located at 2626 Bancroft Way, Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve never been tempted to try out a glory hole, it might not occur to you that an art exhibition would test your virtue. Yet standing before Jonathan Solo’s \u003cb>Glory Hole\u003c/b> — a wall installation of two brass handles screwed at crucifix-arm-height into the wall, and a bible with a circle cut out of its middle affixed farther down at crotch height — I felt an impulse to fit my body into the invitation, phallus-free as I am.\u003c/p>\n\u003cp>Slick and arty, unrepentantly derivative, and very much hands-on, curator Leo Herrera’s \u003cb>María: Politics, Death, Sex, Men\u003c/b> is a visual exhibition in love with the tangible embrace of queer, male sexual practice. Not for the phobic of homo, \u003cb>María\u003c/b> isn’t satisfied with acceptably distant presentations of salacious aesthetics; you must be dragged into the realm of tactile desire yourself; you must use your own body in this space.\u003c/p>\n\u003cp>\u003cb>María\u003c/b> — which opened at Galeria de la Raza last weekend as part of QueLaCo’s \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits/curr_exh.html\" target=\"offsite\" rel=\"noopener\">Queer Latino/a Arts Festival\u003c/a> is not the usual nominally democratic juried show we see at this event. QueLaCo called for curatorial proposals, and Herrera’s winning entry is the collaboration of a clique of artists who might represent a school of aesthetics, if their aesthetics were idiosyncratic enough. That they aren’t doesn’t harm the show. \u003cb>María\u003c/b>, is not a presentation of avant garde visuals, but rather an exercise in how to make a community’s images come alive to the viewer.\u003c/p>\n\u003cp>As such, \u003cb>María\u003c/b> offers melodramatic, yet earnest, joy. The exhibition centers around four series of photo portraits of queer youths and men. Such portraits, intended to give the hordes of abstract queerdom individuality, have become de rigueur in the community arts aesthetic; furthermore, these pieces style-check every important recent photographer from Nan Goldin to Pierre et Gilles. What’s fresh here is that the artists created their series in response to each other; “dialogue” among the works is not merely a curatorial figure of speech.\u003c/p>\n\u003cp>In Jody Jock’s \u003cb>Prayers for Children\u003c/b>, blood and semen drawn from the bodies of adolescent boys through suicidal sexual practices (and sexual suicide practices) are represented by strings and globs of jewels. Allan Herrera’s \u003cb>Prayers for Children 2\u003c/b> fragments Jock’s Catholic images into angular mandalas, injecting pathos into digital orientalism. Robert Guzman’s more straightforward portraits of tattooed, painted, and masked young men seize the context to make a point about aspects of beauty, and hiding behind conspicuousness. On its own, the final series — a mosaic of party action shots and printed bandanas from Leo Herrera, Robert Guzman, Allan Herrera, and Keith Aguiar — would read as an anthropological study of gay nightlife. But, framed and abetted by more formal work and informed by didactic installations of Harvey Milk speeches, teenaged martyrs to homophobia, and heaps of golden poppers and condoms, the photo-mosaic acts more as a key to the rest of the exhibition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A final piece by Allan Herrera, literally titled \u003cb>Touch Me\u003c/b>, offers streamers of pink condoms to audience hands. They feel wonderful, and slyly twist the perception to move condoms from the checklist of safety measures into the armaments of pleasure. They also underline, like Leo Herrera’s gold-leaking condom wrappers and Jody Jock’s “Glory Hole,” the ultimately physical nature of the identity the exhibition has intellectually deconstructed.\u003c/p>\n\u003cp>Many pieces in this show are defeated by small details, such as audio interference in the video installation, or a simple bad choice such as the bludgeoning use of bible pages in a portrait of a slain youth. But, as often as its individual pieces fall short of their ambition, \u003cb>María: Politics, Death, Sex, Men\u003c/b>, transcends its parts by containing and revealing an extended shout of creative energy. With his curatorial work, Herrera makes the argument that, in itself, a marginal community can be a hydra-headed, singular cultural force.\u003c/p>\n\u003cp>Or, as Herrera himself says in \u003ca href=\"http://www.sfbg.com/blogs/pixel_vision/2008/06/hola_maria.html#more\" target=\"offsite\" rel=\"noopener\">his fiery and beautiful curatorial statement\u003c/a>, “We are not the sum of our political issues, pornographic images, diseases and hedonism. We are a culture, flourishing and yet asphyxiating in a sheath of latex, dying and rising at every generation, always existing as Parade and Funeral Procession.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>QueLaCo (Queer Latino Artists Collective) is celebrating the 10th Annual Queer Latino Arts Festival. The festival will consist of two consecutive visual arts exhibitions, and a series of public events, such as poetry readings, film screenings, and artist talks. \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits/curr_exh.html\" target=\"offsite\" rel=\"noopener\">For more information\u003c/a> visit galeriadelaraza.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve never been tempted to try out a glory hole, it might not occur to you that an art exhibition would test your virtue. Yet standing before Jonathan Solo’s \u003cb>Glory Hole\u003c/b> — a wall installation of two brass handles screwed at crucifix-arm-height into the wall, and a bible with a circle cut out of its middle affixed farther down at crotch height — I felt an impulse to fit my body into the invitation, phallus-free as I am.\u003c/p>\n\u003cp>Slick and arty, unrepentantly derivative, and very much hands-on, curator Leo Herrera’s \u003cb>María: Politics, Death, Sex, Men\u003c/b> is a visual exhibition in love with the tangible embrace of queer, male sexual practice. Not for the phobic of homo, \u003cb>María\u003c/b> isn’t satisfied with acceptably distant presentations of salacious aesthetics; you must be dragged into the realm of tactile desire yourself; you must use your own body in this space.\u003c/p>\n\u003cp>\u003cb>María\u003c/b> — which opened at Galeria de la Raza last weekend as part of QueLaCo’s \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits/curr_exh.html\" target=\"offsite\" rel=\"noopener\">Queer Latino/a Arts Festival\u003c/a> is not the usual nominally democratic juried show we see at this event. QueLaCo called for curatorial proposals, and Herrera’s winning entry is the collaboration of a clique of artists who might represent a school of aesthetics, if their aesthetics were idiosyncratic enough. That they aren’t doesn’t harm the show. \u003cb>María\u003c/b>, is not a presentation of avant garde visuals, but rather an exercise in how to make a community’s images come alive to the viewer.\u003c/p>\n\u003cp>As such, \u003cb>María\u003c/b> offers melodramatic, yet earnest, joy. The exhibition centers around four series of photo portraits of queer youths and men. Such portraits, intended to give the hordes of abstract queerdom individuality, have become de rigueur in the community arts aesthetic; furthermore, these pieces style-check every important recent photographer from Nan Goldin to Pierre et Gilles. What’s fresh here is that the artists created their series in response to each other; “dialogue” among the works is not merely a curatorial figure of speech.\u003c/p>\n\u003cp>In Jody Jock’s \u003cb>Prayers for Children\u003c/b>, blood and semen drawn from the bodies of adolescent boys through suicidal sexual practices (and sexual suicide practices) are represented by strings and globs of jewels. Allan Herrera’s \u003cb>Prayers for Children 2\u003c/b> fragments Jock’s Catholic images into angular mandalas, injecting pathos into digital orientalism. Robert Guzman’s more straightforward portraits of tattooed, painted, and masked young men seize the context to make a point about aspects of beauty, and hiding behind conspicuousness. On its own, the final series — a mosaic of party action shots and printed bandanas from Leo Herrera, Robert Guzman, Allan Herrera, and Keith Aguiar — would read as an anthropological study of gay nightlife. But, framed and abetted by more formal work and informed by didactic installations of Harvey Milk speeches, teenaged martyrs to homophobia, and heaps of golden poppers and condoms, the photo-mosaic acts more as a key to the rest of the exhibition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A final piece by Allan Herrera, literally titled \u003cb>Touch Me\u003c/b>, offers streamers of pink condoms to audience hands. They feel wonderful, and slyly twist the perception to move condoms from the checklist of safety measures into the armaments of pleasure. They also underline, like Leo Herrera’s gold-leaking condom wrappers and Jody Jock’s “Glory Hole,” the ultimately physical nature of the identity the exhibition has intellectually deconstructed.\u003c/p>\n\u003cp>Many pieces in this show are defeated by small details, such as audio interference in the video installation, or a simple bad choice such as the bludgeoning use of bible pages in a portrait of a slain youth. But, as often as its individual pieces fall short of their ambition, \u003cb>María: Politics, Death, Sex, Men\u003c/b>, transcends its parts by containing and revealing an extended shout of creative energy. With his curatorial work, Herrera makes the argument that, in itself, a marginal community can be a hydra-headed, singular cultural force.\u003c/p>\n\u003cp>Or, as Herrera himself says in \u003ca href=\"http://www.sfbg.com/blogs/pixel_vision/2008/06/hola_maria.html#more\" target=\"offsite\" rel=\"noopener\">his fiery and beautiful curatorial statement\u003c/a>, “We are not the sum of our political issues, pornographic images, diseases and hedonism. We are a culture, flourishing and yet asphyxiating in a sheath of latex, dying and rising at every generation, always existing as Parade and Funeral Procession.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>QueLaCo (Queer Latino Artists Collective) is celebrating the 10th Annual Queer Latino Arts Festival. The festival will consist of two consecutive visual arts exhibitions, and a series of public events, such as poetry readings, film screenings, and artist talks. \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits/curr_exh.html\" target=\"offsite\" rel=\"noopener\">For more information\u003c/a> visit galeriadelaraza.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve just returned from New York five pounds lighter, with blisters on every toe and no money. My legs are aching but I couldn’t be happier. On my feet are the coolest sneakers SF has ever seen, and I am the proud owner of \u003cb>Greater New York 2005\u003c/b>, a book I would’ve given my left pinky form that I was able to purchase at half-price directly from its source, \u003ca href=\"http://www.ps1.org/\" target=\"offsite\" rel=\"noopener\">P.S.1\u003c/a>, MOMA’s appendage in Queens. The book is the catalogue of a show I saw during my last trip to New York when I discovered that P.S.1 was my favorite museum. It’s a big abandoned school with worn brick stairwells and classrooms transformed into breezy, wide-open galleries. During my severely abbreviated trip, I saw more art than SF can shake a stick at in less than half a day. I love you, San Francisco, but, to state the obvious, New York has a lot more going on.\u003c/p>\n\u003cp>At P.S.1 I saw overflows from (and additions to) Olafur Eliasson’s \u003ca href=\"http://www.kqed.org/arts/multimedia/index.jsp?id=19821\">Take Your Time\u003c/a> exhibition. Most of the show is on view at MOMA. One addition was a room-filling, rotating ceiling mirror. People were strewn across the floor \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/sizes/l\" target=\"offsite\" rel=\"noopener\">gazing up\u003c/a> and it was quite lovely to find folks relaxing under art on a hot New York day.\u003c/p>\n\u003cp>Next I was off to the Metropolitan Museum of Art to see Jeff Koons on the roof. His three large-scale, candy-colored mirrored stainless steel sculptures stood proudly above the city skyline, as decadent as the drink prices at the nearby rooftop bars. \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304214/sizes/l/\" target=\"offsite\" rel=\"noopener\">Yellow Dog\u003c/a> was a little less impressive than his blue littermate I saw at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\">BCAM\u003c/a> in March, mostly because his shiny finish gets a little tattered with smog and raindrops when displayed outside. Met, you should polish that sucker. He’s probably worth at least 20 million. Fun fact: Last fall Koons broke the record for the most expensive work of contemporary art by a living artist sold at auction: 28 million. Funner fact: Lucian Freud beat him last month with a painting of a sleeping nude woman: 33 million. Koons’s record breaker was a giant shiny red heart hanging from a golden ribbon tied in a bow. One of the sculptures on the roof is similarly red with a gold bow but is more of a wrapped candy heart. It’s exactly what Godzilla would give for Valentine’s Day, fittingly placed within a big lizard’s reach on top of the museum.\u003c/p>\n\u003cp>Along with the heart and dog is a less bulbous sculpture. Like a giant Shrinky-dink, it appears as a child’s haphazardly crayoned cut-out of \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304218/sizes/l\" target=\"offsite\" rel=\"noopener\">Piglet\u003c/a>. Koons designed the image by inking a Winnie the Pooh coloring book page with magic markers, and then eliminating the black outline of Piglet to make the sculpture more abstract. It looked transparent at first glance, but was actually just reflecting the 360 degree view of skyscrapers. These were just a sampling of Koons’s extravagant \u003cb>Celebration\u003c/b> series — one that began fifteen years ago and has involved much innovation from a contracted foundry, and upwards of eleventy million dollars in collector investment. The effort was worth it — my friend suggested we take photos of our reflections in the yellow dog’s shiny balloon butt: \u003ca>priceless\u003c/a>.\u003c/p>\n\u003cp>Also at the Met was a fashion-meets-superhero exhibition. Impeccably crafted costumes worn by celebrities like Christopher Reeve, Tobey McGuire, and Rebecca Romijn, alongside countless couture designs from fashion magnates such as Alexander McQueen, made for a crowd-pleasing show. It’s always nice to stumble upon some costumes and pop culture amongst collections of ancient and renaissance everything. The Met is the easiest place to get lost in. Maybe it’s because I was trying to catch up with my friend and navigate the map at the same time, but it felt like a labyrinth. After triumphantly finding the aforementioned exhibits, we hightailed it down Museum Mile to get to the Whitney Museum of American Art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22942\">Greater New York, Part 2\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve just returned from New York five pounds lighter, with blisters on every toe and no money. My legs are aching but I couldn’t be happier. On my feet are the coolest sneakers SF has ever seen, and I am the proud owner of \u003cb>Greater New York 2005\u003c/b>, a book I would’ve given my left pinky form that I was able to purchase at half-price directly from its source, \u003ca href=\"http://www.ps1.org/\" target=\"offsite\" rel=\"noopener\">P.S.1\u003c/a>, MOMA’s appendage in Queens. The book is the catalogue of a show I saw during my last trip to New York when I discovered that P.S.1 was my favorite museum. It’s a big abandoned school with worn brick stairwells and classrooms transformed into breezy, wide-open galleries. During my severely abbreviated trip, I saw more art than SF can shake a stick at in less than half a day. I love you, San Francisco, but, to state the obvious, New York has a lot more going on.\u003c/p>\n\u003cp>At P.S.1 I saw overflows from (and additions to) Olafur Eliasson’s \u003ca href=\"http://www.kqed.org/arts/multimedia/index.jsp?id=19821\">Take Your Time\u003c/a> exhibition. Most of the show is on view at MOMA. One addition was a room-filling, rotating ceiling mirror. People were strewn across the floor \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/sizes/l\" target=\"offsite\" rel=\"noopener\">gazing up\u003c/a> and it was quite lovely to find folks relaxing under art on a hot New York day.\u003c/p>\n\u003cp>Next I was off to the Metropolitan Museum of Art to see Jeff Koons on the roof. His three large-scale, candy-colored mirrored stainless steel sculptures stood proudly above the city skyline, as decadent as the drink prices at the nearby rooftop bars. \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304214/sizes/l/\" target=\"offsite\" rel=\"noopener\">Yellow Dog\u003c/a> was a little less impressive than his blue littermate I saw at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\">BCAM\u003c/a> in March, mostly because his shiny finish gets a little tattered with smog and raindrops when displayed outside. Met, you should polish that sucker. He’s probably worth at least 20 million. Fun fact: Last fall Koons broke the record for the most expensive work of contemporary art by a living artist sold at auction: 28 million. Funner fact: Lucian Freud beat him last month with a painting of a sleeping nude woman: 33 million. Koons’s record breaker was a giant shiny red heart hanging from a golden ribbon tied in a bow. One of the sculptures on the roof is similarly red with a gold bow but is more of a wrapped candy heart. It’s exactly what Godzilla would give for Valentine’s Day, fittingly placed within a big lizard’s reach on top of the museum.\u003c/p>\n\u003cp>Along with the heart and dog is a less bulbous sculpture. Like a giant Shrinky-dink, it appears as a child’s haphazardly crayoned cut-out of \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304218/sizes/l\" target=\"offsite\" rel=\"noopener\">Piglet\u003c/a>. Koons designed the image by inking a Winnie the Pooh coloring book page with magic markers, and then eliminating the black outline of Piglet to make the sculpture more abstract. It looked transparent at first glance, but was actually just reflecting the 360 degree view of skyscrapers. These were just a sampling of Koons’s extravagant \u003cb>Celebration\u003c/b> series — one that began fifteen years ago and has involved much innovation from a contracted foundry, and upwards of eleventy million dollars in collector investment. The effort was worth it — my friend suggested we take photos of our reflections in the yellow dog’s shiny balloon butt: \u003ca>priceless\u003c/a>.\u003c/p>\n\u003cp>Also at the Met was a fashion-meets-superhero exhibition. Impeccably crafted costumes worn by celebrities like Christopher Reeve, Tobey McGuire, and Rebecca Romijn, alongside countless couture designs from fashion magnates such as Alexander McQueen, made for a crowd-pleasing show. It’s always nice to stumble upon some costumes and pop culture amongst collections of ancient and renaissance everything. The Met is the easiest place to get lost in. Maybe it’s because I was trying to catch up with my friend and navigate the map at the same time, but it felt like a labyrinth. After triumphantly finding the aforementioned exhibits, we hightailed it down Museum Mile to get to the Whitney Museum of American Art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22942\">Greater New York, Part 2\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She took three years of drawings, held in scholastic white and black speckled notebooks whose empty covers now lean on a gallery shelf. She mulched and recycled the work to create lumpy sheaths of paper. These pieces of paper do not serve as backgrounds to new drawings. Left blank, they are drawings — three years’ worth — stripped of their representational qualities and repurposed as physical material. Blue and black dashes of color show up in the weave of the new paper, the afterlife of crosshatching and shading, three years spent getting a Master of Fine Arts degree at the University of California, Berkeley. Contained in hard cover bindings, this collection by Renee Delores serves as a fitting greeting to \u003cb>These Canyons\u003c/b>, the UC Berkeley MFA graduate exhibition, on view at the Berkeley Art Museum through Sunday, June 8, 2008.\u003c/p>\n\u003cp>As with Delores’s piece, each of the seven artists’ work is an archive of their time spent pursuing their degrees. And as with Delores’s, each body of work needs to be considered slowly, so that the layers of meaning come to the surface of their own accord. The exhibition’s layout is conducive to this sort of viewing. Unlike larger MFA programs, in which many worthwhile artists are necessarily displayed together in too-small spaces, the artists in this one aren’t on top of one another. There’s a message implicit in this floor-plan: take your time, the work needs and deserves it.\u003c/p>\n\u003cp>Indira Martina Moore’s large white canvases remind me of moonscapes. An intricate system of graphite dashes and dots, circles and lines create a gentle network of trails, directions, and off-center compass points. The tension between her attempts at navigating this white expanse and the unintelligibility of the mark-making system is exciting. The canvases are large — 60 by 84 in. — and the pencil lines are etched like skin cells into the white background. It is enough to just look at the canvases. Like windows that let in the sun, I just want to absorb them, not analyze them.\u003c/p>\n\u003cp>Rosalynn Khor’s film, \u003cb>In Your Hawaiian Way\u003c/b>, is a commentary on the commodification of Hawaiian culture, presented in the form of a self-aware documentary of a tropical vacation. We watch Khor at her computer on the mainland, as she researches the Polynesian Cultural Center, clicking on the icon that allows her to chat with a “real Polynesian!” We go to the center itself, located on the island of Oahu; the camera lens positioned as the tourist gaze. From her vantage point as a visitor to the center, Khor films the awkward tour guide, dressed in sarong and flowered shirt, as he paddles a canoe full of tourists, confessing that it’s his first day and he’s still learning how to navigate the boat. “Aloooo-ha,” he greets the passengers exaggeratedly; it feels like parody.\u003c/p>\n\u003cp>My father grew up on Hawaii, and I remember visiting the Polynesian Cultural Center on one of our frequent trips to Oahu. I also remember my father sternly directing our family to make a U-turn shortly after entering the center, handing our still-good tickets to a family of “locals” walking through the parking lot. “It’s a tourist trap, it’s a joke,” he complained to us. Khor’s video successfully captures the theatricality of the Hawaiian tourist experience and the elusiveness of authentic Hawaiian culture, whatever and wherever that may be. Her filmmaking techniques mimic the tour guide’s failed performance of authenticity. Deliberately amateurish, her camerawork never creates a convincing fiction. Both performances have obvious holes that invite the viewer to consider all that has gone on behind the curtain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the center of the gallery, concentric circles of slip, or wet clay, rise from the floor, the imprint of an earlier performance by Adrianne Crane. \u003cb>Wet Slip Angels\u003c/b> involves Crane laying in a wet pool of slip and flapping her arms and legs as you would to make a snow angel. Her playful actions have serious implications, drawing attention to clay’s materiality and tactility, possible reasons for its historical and unfair exclusion from the world of “serious art.” Crane’s artist statement, included in the exhibition brochure, shares another facet of her practice: guerrilla interventions. Crane writes, “The project is similar to street tagging, but made of wet slip imprints left behind on walls and on the ground. The images will disappear with time and weather.”\u003c/p>\n\u003cp>Wenhua Shi’s \u003cb>What’s in your Suitcase?\u003c/b> is a piece of psychogeography, consisting of cardboard structures fashioned to resemble suitcases or chairs. Passing a piece of plastic over each structure unlocks a recorded narrative hidden within each form. Strangers’ voices animate the space, sharing stories of travel and everyday life, reminding us that physical spaces are composed of stories as well as structures.\u003c/p>\n\u003cp>Emily Prince uses a 19th-century viewing machine, the zoopraxiscope, to display altered 20th-century photographs. Although one of the three machines was broken on the day of my visit, the two functioning zoopraxiscopes worked like crude slide projectors. I cranked a handle, and a circle of images rotated before a shining light, creating momentary projections of family memories on the wall. Prince has physically cut the images, erasing backgrounds and surrounding details, preserving only faces and folded arms. Both the images and the obsolete viewing apparatus create a feeling of temporality. Our memories disappear, seemingly before our eyes. And our methods of viewing these memories change as well, just as quickly and unpredictably.\u003c/p>\n\u003cp>I stood a long time before Sunaura Taylor’s 96-by-25-in. \u003cb>Chicken Truck\u003c/b>, the largest of her luminous oil paintings depicting factory farming practices. The work is monumental, its details nuanced and delicate. Broken and twisted metal separates each column of cages; thin wire contains chicken bodies. We see their feathers and their forms press against the cages’ frames. White chickens spill beneath bent wire; other cages are dark except for the red flame of a rooster’s comb. The work juxtaposes the mechanic mentality of factory farming with the animals’ sensual fragility.\u003c/p>\n\u003cp>Taylor’s work reminds me of Danny Keith’s. Keith, a recent graduate of the MFA program at California College of the Arts, makes oil paintings reminiscent of John Singer Sargent’s. He depicts tried and true masculine pastimes — hiking, camping, horsing around. Yet he injects subtly homoerotic overtones into the images. Keith plays with viewers’ expectations of paintings done in this particular style, and calls attention to potentially hidden subtexts in his predecessors’ works (See the \u003ca href=\"http://www.kqed.org/arts/gallerycrawl/episode.jsp?id=22770\">CCA-MFA 2008\u003c/a> episode of \u003cb>Gallery Crawl\u003c/b> for an interview with Keith).\u003c/p>\n\u003cp>Taylor also plays with viewers’ expectations. Her paintings jolt us from our comfort zone as we realize her beautiful images depicts something atrocious and inhumane. We must consider the familiar and limited ways we are comfortable viewing animals in art: usually as innocuous symbols of nature or innocence. Taylor’s work lures us in with its beauty, and forces us to witness the other side of our society’s relationship with animals.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I was charmed by most of the work in \u003cb>These Canyons\u003c/b>. But unlike a mysterious romance whose allure you can’t explain, I know why. Conceptual, the work managed to be both accessible and well executed. I never scratched my head, aware that some esoteric inquiry produced what I saw before me, but baffled as to what that inquiry was. Quite a bit in life is enigmatic enough, and I appreciate art that doesn’t try to be too clever. I want it to give away enough of its secrets that I feel smart, but keep enough to itself that I’m still filled with a little wonder. Because I’ll be honest: I’m tired of being confused.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She took three years of drawings, held in scholastic white and black speckled notebooks whose empty covers now lean on a gallery shelf. She mulched and recycled the work to create lumpy sheaths of paper. These pieces of paper do not serve as backgrounds to new drawings. Left blank, they are drawings — three years’ worth — stripped of their representational qualities and repurposed as physical material. Blue and black dashes of color show up in the weave of the new paper, the afterlife of crosshatching and shading, three years spent getting a Master of Fine Arts degree at the University of California, Berkeley. Contained in hard cover bindings, this collection by Renee Delores serves as a fitting greeting to \u003cb>These Canyons\u003c/b>, the UC Berkeley MFA graduate exhibition, on view at the Berkeley Art Museum through Sunday, June 8, 2008.\u003c/p>\n\u003cp>As with Delores’s piece, each of the seven artists’ work is an archive of their time spent pursuing their degrees. And as with Delores’s, each body of work needs to be considered slowly, so that the layers of meaning come to the surface of their own accord. The exhibition’s layout is conducive to this sort of viewing. Unlike larger MFA programs, in which many worthwhile artists are necessarily displayed together in too-small spaces, the artists in this one aren’t on top of one another. There’s a message implicit in this floor-plan: take your time, the work needs and deserves it.\u003c/p>\n\u003cp>Indira Martina Moore’s large white canvases remind me of moonscapes. An intricate system of graphite dashes and dots, circles and lines create a gentle network of trails, directions, and off-center compass points. The tension between her attempts at navigating this white expanse and the unintelligibility of the mark-making system is exciting. The canvases are large — 60 by 84 in. — and the pencil lines are etched like skin cells into the white background. It is enough to just look at the canvases. Like windows that let in the sun, I just want to absorb them, not analyze them.\u003c/p>\n\u003cp>Rosalynn Khor’s film, \u003cb>In Your Hawaiian Way\u003c/b>, is a commentary on the commodification of Hawaiian culture, presented in the form of a self-aware documentary of a tropical vacation. We watch Khor at her computer on the mainland, as she researches the Polynesian Cultural Center, clicking on the icon that allows her to chat with a “real Polynesian!” We go to the center itself, located on the island of Oahu; the camera lens positioned as the tourist gaze. From her vantage point as a visitor to the center, Khor films the awkward tour guide, dressed in sarong and flowered shirt, as he paddles a canoe full of tourists, confessing that it’s his first day and he’s still learning how to navigate the boat. “Aloooo-ha,” he greets the passengers exaggeratedly; it feels like parody.\u003c/p>\n\u003cp>My father grew up on Hawaii, and I remember visiting the Polynesian Cultural Center on one of our frequent trips to Oahu. I also remember my father sternly directing our family to make a U-turn shortly after entering the center, handing our still-good tickets to a family of “locals” walking through the parking lot. “It’s a tourist trap, it’s a joke,” he complained to us. Khor’s video successfully captures the theatricality of the Hawaiian tourist experience and the elusiveness of authentic Hawaiian culture, whatever and wherever that may be. Her filmmaking techniques mimic the tour guide’s failed performance of authenticity. Deliberately amateurish, her camerawork never creates a convincing fiction. Both performances have obvious holes that invite the viewer to consider all that has gone on behind the curtain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the center of the gallery, concentric circles of slip, or wet clay, rise from the floor, the imprint of an earlier performance by Adrianne Crane. \u003cb>Wet Slip Angels\u003c/b> involves Crane laying in a wet pool of slip and flapping her arms and legs as you would to make a snow angel. Her playful actions have serious implications, drawing attention to clay’s materiality and tactility, possible reasons for its historical and unfair exclusion from the world of “serious art.” Crane’s artist statement, included in the exhibition brochure, shares another facet of her practice: guerrilla interventions. Crane writes, “The project is similar to street tagging, but made of wet slip imprints left behind on walls and on the ground. The images will disappear with time and weather.”\u003c/p>\n\u003cp>Wenhua Shi’s \u003cb>What’s in your Suitcase?\u003c/b> is a piece of psychogeography, consisting of cardboard structures fashioned to resemble suitcases or chairs. Passing a piece of plastic over each structure unlocks a recorded narrative hidden within each form. Strangers’ voices animate the space, sharing stories of travel and everyday life, reminding us that physical spaces are composed of stories as well as structures.\u003c/p>\n\u003cp>Emily Prince uses a 19th-century viewing machine, the zoopraxiscope, to display altered 20th-century photographs. Although one of the three machines was broken on the day of my visit, the two functioning zoopraxiscopes worked like crude slide projectors. I cranked a handle, and a circle of images rotated before a shining light, creating momentary projections of family memories on the wall. Prince has physically cut the images, erasing backgrounds and surrounding details, preserving only faces and folded arms. Both the images and the obsolete viewing apparatus create a feeling of temporality. Our memories disappear, seemingly before our eyes. And our methods of viewing these memories change as well, just as quickly and unpredictably.\u003c/p>\n\u003cp>I stood a long time before Sunaura Taylor’s 96-by-25-in. \u003cb>Chicken Truck\u003c/b>, the largest of her luminous oil paintings depicting factory farming practices. The work is monumental, its details nuanced and delicate. Broken and twisted metal separates each column of cages; thin wire contains chicken bodies. We see their feathers and their forms press against the cages’ frames. White chickens spill beneath bent wire; other cages are dark except for the red flame of a rooster’s comb. The work juxtaposes the mechanic mentality of factory farming with the animals’ sensual fragility.\u003c/p>\n\u003cp>Taylor’s work reminds me of Danny Keith’s. Keith, a recent graduate of the MFA program at California College of the Arts, makes oil paintings reminiscent of John Singer Sargent’s. He depicts tried and true masculine pastimes — hiking, camping, horsing around. Yet he injects subtly homoerotic overtones into the images. Keith plays with viewers’ expectations of paintings done in this particular style, and calls attention to potentially hidden subtexts in his predecessors’ works (See the \u003ca href=\"http://www.kqed.org/arts/gallerycrawl/episode.jsp?id=22770\">CCA-MFA 2008\u003c/a> episode of \u003cb>Gallery Crawl\u003c/b> for an interview with Keith).\u003c/p>\n\u003cp>Taylor also plays with viewers’ expectations. Her paintings jolt us from our comfort zone as we realize her beautiful images depicts something atrocious and inhumane. We must consider the familiar and limited ways we are comfortable viewing animals in art: usually as innocuous symbols of nature or innocence. Taylor’s work lures us in with its beauty, and forces us to witness the other side of our society’s relationship with animals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s kind of like a Martian art gallery. Unidentifiable creatures and unusual forms represent the \u003cb>Mental and Material Realms\u003c/b> of two local artists — \u003ca href=\"http://www.mars-1.com/\" target=\"offsite\" rel=\"noopener\">Mars-1\u003c/a> and \u003ca href=\"http://www.davidchoonglee.com/\" target=\"offsite\" rel=\"noopener\">David Choong Lee\u003c/a> –in their current show at Bucheon Gallery in Hayes Valley. Speaking of Hayes Valley, has anyone seen the new giant rusty ape-alien-man sculpture on The Green? It’s called \u003cb>Koilos\u003c/b> and it’s the work of \u003ca href=\"http://www.burningman.com/\" target=\"offsite\" rel=\"noopener\">Burning Man\u003c/a>artist Michael Christian. It looked especially appropriate with a DJ in its clutches during the latest \u003ca href=\"http://www.capsulesf.com/\" target=\"offsite\" rel=\"noopener\">Capsule\u003c/a> event. Apologies; I digress, and now back to the show…\u003c/p>\n\u003cp>David Choong Lee paints contemporary figures on boxes, all kinds of boxes. Cigar boxes, wooden crates, and shoeboxes installed in grids and clusters on the wall. Tons of them are also stuck together to create an enormous sculptural form in the middle of the gallery that stands at least eight feet tall. Lee practices a kind of street portraiture inspired by the homeless people he befriended when he first moved to SF from Korea. His paintings capture souls and isolate them, creating an intimate connection between subject and viewer. The figures pop against abstract backgrounds, and the paintings continue onto the sides of the boxes, resulting in more popping action.\u003c/p>\n\u003cp>Mars-1 appears to be interested in outer space. He paints otherworldly landscapes that strangely appear accurate. I think he travels throughout the solar system working as a plein air painter of the outdoor environments of aliens. On view for the first time are sculptures of his vinyl toy figures re-imagined in fiberglass and bronze. They could be seen as the love children of Martians and robots. One has a shiny, onyx surface and a little town coming out of its face. Not surprisingly, more of the artist’s work is currently included in the San Jose Museum of Art’s \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22716\" target=\"offsite\" rel=\"noopener\">Robots\u003c/a> show.\u003c/p>\n\u003cp>The artist pairing of Lee and Mars-1 is a pleasant one. They have distinct styles and subject matter, but their work becomes stronger together. They’re different artists, but you could see them working in the same studio, maybe sharing color palettes and stories about mental or material alienation. Did I just figure out the meaning of the show’s title?\u003c/p>\n\u003cp>\u003cb>Mental and Material Realms\u003c/b> runs through June 21, 2008 at Bucheon Gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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