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"content": "\u003cp>On September 11, 2001, we woke up early to look at winter rentals at Higgins Beach. We drove through the southern Maine morning, leaves turning, until we arrived at the small strip of houses along the ocean. Standing in gravel driveways, peeking into the windows of wooden houses, gray boards cracked and bowed, I remember the clear sky and the cold air from the sea. The morning is crystallized in my mind, like a scene inside a snow globe. These were the hours before everything changed, before we drove back into town and walked past a television store and saw the images of the World Trade Center on a screen facing the sidewalk. Sometimes I want to return to that morning by the ocean, to marvel at our innocence and inaccurate visions of the future, to search for clues of what was to come. Maybe I would be able to find the moment that “before” turned into “after.”\u003c/p>\n\u003cp>We are constantly negotiating between the past and the future, stumbling through the moments that connect old versions of our world with emerging ones, revising our memories to reflect then-future events. We can’t see tomorrow. Julio Cesar Morales’ current exhibit at New Langton Arts takes this relationship — between history and what’s to come — as its subject. As in the rest of Morales’ practice, the artist grounds his explorations in the cross-border dynamics of the United States and Mexico. \u003cb>tomorrow is for those who can hear it coming\u003c/b> consists of three works that, as Morales says in an interview with curator Maria del Carmen Carrion, seek to “go to the future by going back to the past.”\u003c/p>\n\u003cp>The most provocative of the pieces is \u003cb>Interrupted Passage\u003c/b>, a meticulously detailed reenactment of General Vallejo’s 1846 meeting with members of the U.S. militia. As a result of the meeting, which took the form of a meal, the Treaty of Guadalupe was signed, and California joined the United States. The video, which plays at New Langton on a loop, was filmed at Casa Grande, Vallejo’s historic home in Sonoma. The reenactment does not profess to be literal or historically definitive, rejecting the nostalgia of typical historical reenactments. Bare of dialogue, its only accompaniment is an ambient electronic soundtrack. The characters are theatrical, their costumes obvious, their facial expressions unnatural. “It is not an accurate vision, it is not a reenactment in that sense,” Morales said in his conversation with Carrion. He continued: “It is something that I envisioned related to my reading of Vallejo’s autobiography — what he was thinking, how he was feeling, and what those last eight hours could have looked like.”\u003c/p>\n\u003cp>Morales, as Vallejo, sits sideburned and uneasy in his home awaiting his guests. Other characters — two bearded and rough looking soldiers — approach. The meal begins. The camera focuses on hungry slurps and tense looks. We never see a piece of paper signed or witness a conversation among the men. The scene merely builds and builds, the music beats and pulses, approaching a future climax the viewer never sees. While one screen shows the meal being eaten, a second screen provides footage of its preparation. Onions are chopped with a cleaver and a steer is roasted above a fire. Sensual and visceral, the food appears as a sacrifice. Although Morales admits the filmed reenactment is not historically accurate, he went to great lengths to ensure the meal was, collaborating with chef Max La Riviere-Hedrick to create a meal out of ingredients available during Vallejo’s time.\u003c/p>\n\u003cp>Morales’ vision of the past is one heavily influenced by and relevant to the issues of today. Vallejo had an open immigration policy, Morales points out. “He wanted people to come to Alta California…I thought it was an interesting connection to make in our current political climate, when as we speak, the wall between Mexico and the United States is being built.” Strangely, the food prepared and eaten in \u003cb>Interrupted Passage\u003c/b> serves as a link between those two time periods. Immediate and sensual, the food provokes an awareness of the present, of this moment, right now. The moment after a memory and before the next step.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Julio Cesar Morales’ \u003cb>tomorrow is for those who can hear it coming\u003c/b> is on display at New Langton Arts through October 25, 2008. For \u003ca href=\"http://newlangtonarts.org/\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit newlangtonarts.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On September 11, 2001, we woke up early to look at winter rentals at Higgins Beach. We drove through the southern Maine morning, leaves turning, until we arrived at the small strip of houses along the ocean. Standing in gravel driveways, peeking into the windows of wooden houses, gray boards cracked and bowed, I remember the clear sky and the cold air from the sea. The morning is crystallized in my mind, like a scene inside a snow globe. These were the hours before everything changed, before we drove back into town and walked past a television store and saw the images of the World Trade Center on a screen facing the sidewalk. Sometimes I want to return to that morning by the ocean, to marvel at our innocence and inaccurate visions of the future, to search for clues of what was to come. Maybe I would be able to find the moment that “before” turned into “after.”\u003c/p>\n\u003cp>We are constantly negotiating between the past and the future, stumbling through the moments that connect old versions of our world with emerging ones, revising our memories to reflect then-future events. We can’t see tomorrow. Julio Cesar Morales’ current exhibit at New Langton Arts takes this relationship — between history and what’s to come — as its subject. As in the rest of Morales’ practice, the artist grounds his explorations in the cross-border dynamics of the United States and Mexico. \u003cb>tomorrow is for those who can hear it coming\u003c/b> consists of three works that, as Morales says in an interview with curator Maria del Carmen Carrion, seek to “go to the future by going back to the past.”\u003c/p>\n\u003cp>The most provocative of the pieces is \u003cb>Interrupted Passage\u003c/b>, a meticulously detailed reenactment of General Vallejo’s 1846 meeting with members of the U.S. militia. As a result of the meeting, which took the form of a meal, the Treaty of Guadalupe was signed, and California joined the United States. The video, which plays at New Langton on a loop, was filmed at Casa Grande, Vallejo’s historic home in Sonoma. The reenactment does not profess to be literal or historically definitive, rejecting the nostalgia of typical historical reenactments. Bare of dialogue, its only accompaniment is an ambient electronic soundtrack. The characters are theatrical, their costumes obvious, their facial expressions unnatural. “It is not an accurate vision, it is not a reenactment in that sense,” Morales said in his conversation with Carrion. He continued: “It is something that I envisioned related to my reading of Vallejo’s autobiography — what he was thinking, how he was feeling, and what those last eight hours could have looked like.”\u003c/p>\n\u003cp>Morales, as Vallejo, sits sideburned and uneasy in his home awaiting his guests. Other characters — two bearded and rough looking soldiers — approach. The meal begins. The camera focuses on hungry slurps and tense looks. We never see a piece of paper signed or witness a conversation among the men. The scene merely builds and builds, the music beats and pulses, approaching a future climax the viewer never sees. While one screen shows the meal being eaten, a second screen provides footage of its preparation. Onions are chopped with a cleaver and a steer is roasted above a fire. Sensual and visceral, the food appears as a sacrifice. Although Morales admits the filmed reenactment is not historically accurate, he went to great lengths to ensure the meal was, collaborating with chef Max La Riviere-Hedrick to create a meal out of ingredients available during Vallejo’s time.\u003c/p>\n\u003cp>Morales’ vision of the past is one heavily influenced by and relevant to the issues of today. Vallejo had an open immigration policy, Morales points out. “He wanted people to come to Alta California…I thought it was an interesting connection to make in our current political climate, when as we speak, the wall between Mexico and the United States is being built.” Strangely, the food prepared and eaten in \u003cb>Interrupted Passage\u003c/b> serves as a link between those two time periods. Immediate and sensual, the food provokes an awareness of the present, of this moment, right now. The moment after a memory and before the next step.\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>Julio Cesar Morales’ \u003cb>tomorrow is for those who can hear it coming\u003c/b> is on display at New Langton Arts through October 25, 2008. For \u003ca href=\"http://newlangtonarts.org/\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit newlangtonarts.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What is the role of the artist in wartime? Answers to that question are many, but all are conditional. It is absurd to speak about “the artist” as monolithic. Artists’ strategies for interacting with the real are as varied as the artists themselves. It might be equally absurd to speak of war in a similar fashion. Throughout history, wars have been waged for a multitude of reasons, the specifics of which we leave to the province of historians who, with distance and hindsight, are better able to piece together the logics of victor and vanquished.\u003c/p>\n\u003cp>War is eternal. It is constant, like a heartbeat, an ever-present part of the human condition. It is always with us, staining the whole of human history with the blood spilled. War is epic. It is drama on a grand scale, which is why it appears so often in works of art.\u003c/p>\n\u003cp>The Meridian Gallery’s current exhibition, \u003cb>Art of Democracy: War and Empire\u003c/b>, fills three floors with artworks that explore the subject of war in general, and grapple with the current Iraq war in particular. Forty artists contributed to the exhibition, deploying a number of strategies, only a few or which are, in my opinion, successful.\u003c/p>\n\u003cp>Many of the works in the show are loud and graphic, depicting battlefield scenes or instances of atrocity and abuse. They put the bloody reality front and center, confronting the viewer with the ugly barbarism of battle. Others employ a gallows humor, mocking the warmongers (mostly members of the Bush Administration), twisting the players into grotesque caricatures and scrawling their own nonsensical rhetoric across their mouths. It is as if the artists are attempting to shove the coarse words back down the throats that uttered them.\u003c/p>\n\u003cp>There is probably a cleansing function to this art. The anger and outrage must be exorcised in some way, but one wonders what this art is attempting. Is it educational? Informational? It is surely not being produced to change minds. Perhaps it is meant more as a rallying cry or, in some cases, an outcry. One cannot help but think that this work just feeds the thing it aims to combat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Bush Administration shows up in various guises in the majority of works on display: Bush as vampire; Cheney as Pinoccio; Condi as dominatrix; the Bush Administration as hydra doing battle with the Statue of Liberty. Pointing fingers and calling names is what the Bush Administration does best. They have set the stage and are its major players. The only choice is to react. The artist who responds is trapped, becoming a prisoner of his or her own message, a message that itself imprisons. As long as the Bush Administration remains the subject, the real costs of war need not be examined.\u003c/p>\n\u003cp>Juan Fuentes’s \u003cb>Children Die in Stupid Grownups War\u003c/b> is a black and white image of a man carrying a dead child with the title written across the bottom of the print. After all the clever agit-prop on display, this one image pretty much says it all. There are consequences to war. While most of the other artists in the show would like to argue about the absurdity of a phrase like “collateral damage,” Fuentes demonstrates its human form through the voice of a child, depicting how innocence is lost in a time of war.\u003c/p>\n\u003cp>Favianna Rodriguez does similar work, with bold prints and simple slogans like \u003cb>War Targets Poor People of Color\u003c/b>. Rodriguez and Fuentes refuse to argue the specifics of this or that war, or to debate the potency of nationalist symbols, in favor of demonstrating how wars are fought over the heads and through the bodies of the disempowered.\u003c/p>\n\u003cp>For those with a little extra cash on hand, David Jones’s \u003cb>Lead Shirts\u003c/b> offer a practical — and stylish — approach to life during wartime. For only $999.99 you can be the proud owner of one beautifully-tailored button-down dress shirt fashioned out of lead. In classic style, with lots of detail work, these garments are designed to protect the wearer from harmful nuclear fallout in a time of increasing uncertainty. What’s great about the lead shirt, beside the fact that it will go with just about anything, is how it reveals the fragility of the post-911 world and lays bare the futility of our efforts to shield ourselves from harm.\u003c/p>\n\u003cp>Scott Anderson’s \u003cb>The Condi Bomb, Weapon of Missed Diplomacy and Messed Democracy\u003c/b> is a painting of a war machine called the “Bababa baba Iran,” which looks like an improvised Swiss army knife in tank form. Like something out of \u003cb>Mad Max\u003c/b>, the machine is hobbled together with thumbtacks and glue, its weapons are punchy fists, pointy sticks and a carrot. A Fox TV satellite dish, a piece of pie, a rubber chicken and a sad teddy bear are all taped to its surface, reminding us how much we “supported the troops” in Iraq, forcing them to improvise their own armor in the midst of battle.\u003c/p>\n\u003cp>Anderson’s painting floats above an installation of \u003cb>War Toys\u003c/b> by Bella Feldman. These metal and glass sculptures come in many shapes and sizes. Each object seems to be constructed for a different purpose, which is purposefully obscured. Some look like testicles on wheels, others like long knives. The glass feels fragile, the metal tough. Some knives point inward, others out. These “toys” look both mean and vulnerable at the same time, making one wonder if war isn’t self-breaking. Even the title reminds us that, to a certain extent, war is a game.\u003c/p>\n\u003cp>What these toys are and what they are designed to do is open to interpretation. While contemplating them, we are free. This exhibition has turned the Meridian Gallery into a battlefield of ideas, a war of images about war. Feldman’s \u003cb>War Toys\u003c/b> invite dialogue and translation. That’s where art, especially art concerned with war, should take us — to an open place, one where we are free to do the work of understanding. This would be the place where conflicting ideas, cultures and nations could safely meet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Art of Democracy: War and Empire\u003c/b> is on display at the Meridian Gallery through November 4, 2008. For \u003ca href=\"http://www.meridiangallery.org/\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit meridiangallery.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is the role of the artist in wartime? Answers to that question are many, but all are conditional. It is absurd to speak about “the artist” as monolithic. Artists’ strategies for interacting with the real are as varied as the artists themselves. It might be equally absurd to speak of war in a similar fashion. Throughout history, wars have been waged for a multitude of reasons, the specifics of which we leave to the province of historians who, with distance and hindsight, are better able to piece together the logics of victor and vanquished.\u003c/p>\n\u003cp>War is eternal. It is constant, like a heartbeat, an ever-present part of the human condition. It is always with us, staining the whole of human history with the blood spilled. War is epic. It is drama on a grand scale, which is why it appears so often in works of art.\u003c/p>\n\u003cp>The Meridian Gallery’s current exhibition, \u003cb>Art of Democracy: War and Empire\u003c/b>, fills three floors with artworks that explore the subject of war in general, and grapple with the current Iraq war in particular. Forty artists contributed to the exhibition, deploying a number of strategies, only a few or which are, in my opinion, successful.\u003c/p>\n\u003cp>Many of the works in the show are loud and graphic, depicting battlefield scenes or instances of atrocity and abuse. They put the bloody reality front and center, confronting the viewer with the ugly barbarism of battle. Others employ a gallows humor, mocking the warmongers (mostly members of the Bush Administration), twisting the players into grotesque caricatures and scrawling their own nonsensical rhetoric across their mouths. It is as if the artists are attempting to shove the coarse words back down the throats that uttered them.\u003c/p>\n\u003cp>There is probably a cleansing function to this art. The anger and outrage must be exorcised in some way, but one wonders what this art is attempting. Is it educational? Informational? It is surely not being produced to change minds. Perhaps it is meant more as a rallying cry or, in some cases, an outcry. One cannot help but think that this work just feeds the thing it aims to combat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bush Administration shows up in various guises in the majority of works on display: Bush as vampire; Cheney as Pinoccio; Condi as dominatrix; the Bush Administration as hydra doing battle with the Statue of Liberty. Pointing fingers and calling names is what the Bush Administration does best. They have set the stage and are its major players. The only choice is to react. The artist who responds is trapped, becoming a prisoner of his or her own message, a message that itself imprisons. As long as the Bush Administration remains the subject, the real costs of war need not be examined.\u003c/p>\n\u003cp>Juan Fuentes’s \u003cb>Children Die in Stupid Grownups War\u003c/b> is a black and white image of a man carrying a dead child with the title written across the bottom of the print. After all the clever agit-prop on display, this one image pretty much says it all. There are consequences to war. While most of the other artists in the show would like to argue about the absurdity of a phrase like “collateral damage,” Fuentes demonstrates its human form through the voice of a child, depicting how innocence is lost in a time of war.\u003c/p>\n\u003cp>Favianna Rodriguez does similar work, with bold prints and simple slogans like \u003cb>War Targets Poor People of Color\u003c/b>. Rodriguez and Fuentes refuse to argue the specifics of this or that war, or to debate the potency of nationalist symbols, in favor of demonstrating how wars are fought over the heads and through the bodies of the disempowered.\u003c/p>\n\u003cp>For those with a little extra cash on hand, David Jones’s \u003cb>Lead Shirts\u003c/b> offer a practical — and stylish — approach to life during wartime. For only $999.99 you can be the proud owner of one beautifully-tailored button-down dress shirt fashioned out of lead. In classic style, with lots of detail work, these garments are designed to protect the wearer from harmful nuclear fallout in a time of increasing uncertainty. What’s great about the lead shirt, beside the fact that it will go with just about anything, is how it reveals the fragility of the post-911 world and lays bare the futility of our efforts to shield ourselves from harm.\u003c/p>\n\u003cp>Scott Anderson’s \u003cb>The Condi Bomb, Weapon of Missed Diplomacy and Messed Democracy\u003c/b> is a painting of a war machine called the “Bababa baba Iran,” which looks like an improvised Swiss army knife in tank form. Like something out of \u003cb>Mad Max\u003c/b>, the machine is hobbled together with thumbtacks and glue, its weapons are punchy fists, pointy sticks and a carrot. A Fox TV satellite dish, a piece of pie, a rubber chicken and a sad teddy bear are all taped to its surface, reminding us how much we “supported the troops” in Iraq, forcing them to improvise their own armor in the midst of battle.\u003c/p>\n\u003cp>Anderson’s painting floats above an installation of \u003cb>War Toys\u003c/b> by Bella Feldman. These metal and glass sculptures come in many shapes and sizes. Each object seems to be constructed for a different purpose, which is purposefully obscured. Some look like testicles on wheels, others like long knives. The glass feels fragile, the metal tough. Some knives point inward, others out. These “toys” look both mean and vulnerable at the same time, making one wonder if war isn’t self-breaking. Even the title reminds us that, to a certain extent, war is a game.\u003c/p>\n\u003cp>What these toys are and what they are designed to do is open to interpretation. While contemplating them, we are free. This exhibition has turned the Meridian Gallery into a battlefield of ideas, a war of images about war. Feldman’s \u003cb>War Toys\u003c/b> invite dialogue and translation. That’s where art, especially art concerned with war, should take us — to an open place, one where we are free to do the work of understanding. This would be the place where conflicting ideas, cultures and nations could safely meet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mahjong: Contemporary Chinese Art from the Sigg Collection",
"headTitle": "Mahjong: Contemporary Chinese Art from the Sigg Collection | KQED",
"content": "\u003cp>There’s so much. One piece after another after another. The Berkeley Art Museum’s nine packed galleries give a clear indication of the Swiss art collector Uli Sigg’s obsessive-compulsive drive towards collection.\u003c/p>\n\u003cp>\u003cb>Mahjong: Contemporary Art from the Sigg Collection\u003c/b> offers over 140 works of Chinese contemporary art, all drawn from Sigg’s private collection. Together, the works in Mahjong tell the story of a dreamworld called “China,” but that dreamworld may, or may not, bear any resemblance to the real thing.\u003c/p>\n\u003cp>Sigg began collecting Chinese contemporary art in the 1990s, trying, as he notes, “to cover the whole spectrum” of Chinese contemporary art production, and assemble a collection that embodies “Chineseness.” His encyclopedic impulse is admirable, but the results are less neutral, and less documentary, than he might lead us to believe.\u003c/p>\n\u003cp>Sigg, like so many others who work with Chinese contemporary art, treats Chinese as a veiled “Other.” The curatorial approach to Mahjong draws heavily upon Orientalist tropes. Due to the Cultural Revolution, the story goes, China was hidden from the Western gaze, and her artists were cut off from contact with the West. Chinese art, like Chinese history, was supposedly divorced from the world, and Chinese contemporary art developed in that secret space. Chinese contemporary art, then, cannot — and should not — be judged on par with Western art. The same standards cannot apply to Chinese contemporary art. Chinese contemporary art must be judged on separate terms. Often, the object’s ability to convey “Chineseness” becomes a key determinant of its value as a work of art. And because that narrative of Chinese art history continues to dominate the discourse, most criticism and scholarship — and consequently, most curatorial approaches — continue to embrace this double standard.\u003c/p>\n\u003cp>Most critics and curators of contemporary art would find it laughable to organize a show around the essential principles of “Frenchness” or “Americanness,” yet curators of contemporary Chinese art continue to incorporate essentialist notions of “Chineseness” into their shows. To put it bluntly, in every show about Chinese art, there must be a panda. (There is at least one panda in Mahjong. It appears in Zhao Bandi’s \u003cb>A Tale of Love Gone Wrong\u003c/b> for Pandaman (2003).) Can you imagine if every show about contemporary American art included an American flag, or worse, Mickey Mouse?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Mahjong, the objects hit all the familiar high notes — we observe cosmopolitan scenes from Beijing and Shanghai, we encounter elements drawn from China’s Classical past, we enjoy Chinese calligraphy, porcelain, and embroidery, we revel in exquisite glazes and sumptuous silks. In other words, the objects conform to our expectations of “something Chinese.” We need not possess knowledge of Chinese geography nor history to take pleasure in the spectacle before us.\u003c/p>\n\u003cp>The China that we encounter at the Berkeley Art Museum is protean, changeable, but still deeply inflected with Orientalism. This China is less a geographic place than a free-floating construct. In the past decade, the concept of China has taken on an intense, almost totemic significance. In our century, China re-emerged as a major player on the world stage, a development that startles — and unsettles — many in the West. The overheated Chinese contemporary art market was largely driven by a Western desire to own and know the slippery, mysterious Oriental “other.”\u003c/p>\n\u003cp>Witness the Western — European and American — fascination with the 2008 Beijing Olympics, a fascination exemplified by the press’s curious mixture of admiration and disgust, denigration and celebration, towards China and its people. In China, they eat scorpions on a stick. In China, they drink Coca-Cola. The Chinese are at once potentially human — and utterly alien. The tropes of Orientalism return, now broadcast in high definition.\u003c/p>\n\u003cp>Taken as a group, the works in Mahjong convey that same unsettling mixture of fear and fascination. In the exhibition, China often comes across as grotesque and somewhat sinister, a place where the human figure is continually under stress. For example, Yue MinJun’s paintings feature grotesque, mask-like figures, dressed in everyday garb, but performing unorthodox, and highly disturbing, actions. \u003cb>2000 A.D.\u003c/b>, Yue’s large-scale installation, features row upon row of the same grinning figure, his face contorted into something resembling a death mask. Dressed in a white t-shirt and blue jeans, barefoot, with his eyes shut and his hands crossed behind his back, the man seems neither happy nor relaxed. Taken en masse, Yue’s figures remind me of the Chin dynasty terracotta warriors, who were buried with their master in lieu of the usual human sacrifice. Wang Jin’s \u003cb>Ice Wall\u003c/b> depicts frenzied villagers tackling a wall made of ice, tearing objects (described as “highly desirable consumer goods”) and bearing them away.\u003c/p>\n\u003cp>There is also the other China, the beautiful and desirable one. We encounter this particular dream China in Mahjong as well, in the form of Wang Jin’s haunting 1997 work, \u003cb>The Dream of China\u003c/b>, where a translucent plastic (or PVC?) copy of an embroidered silk court robe hangs suspended from a large metal hook, a gossamer mirage of exotic beauty. And we meet it again in Shi Guorui’s photo-panorama, \u003cb>Shanghai, China, 15-16 October 2004\u003c/b>, and in the pseudo-calligraphy practiced by Gu Wenda and Xu Bing. This is the Orient that is mysterious and fascinating, that beguiles us but remains veiled.\u003c/p>\n\u003cp>Despite its scale, Mahjong is more a show about Western visions of China than a show about contemporary art practice in China. We come away from the show with very little new knowledge about contemporary China — we can leave, in fact, without ever figuring out the proper geographic relationship between Shanghai and Beijing — but with plenty of insight into the West’s projections of China and the Orient. Until Western curators figure out a different way to narrate Chinese art history, we will continue to rehearse our own Orientalist versions of that story, and our shows about Chinese art will continue to resemble a hall of mirrors, continually reflecting our own gaze back at us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mahjong: Contemporary Art from the Sigg Collection\u003c/b> is on display at the Berkeley Art Museum through January 4, 2009. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/mahjong\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s so much. One piece after another after another. The Berkeley Art Museum’s nine packed galleries give a clear indication of the Swiss art collector Uli Sigg’s obsessive-compulsive drive towards collection.\u003c/p>\n\u003cp>\u003cb>Mahjong: Contemporary Art from the Sigg Collection\u003c/b> offers over 140 works of Chinese contemporary art, all drawn from Sigg’s private collection. Together, the works in Mahjong tell the story of a dreamworld called “China,” but that dreamworld may, or may not, bear any resemblance to the real thing.\u003c/p>\n\u003cp>Sigg began collecting Chinese contemporary art in the 1990s, trying, as he notes, “to cover the whole spectrum” of Chinese contemporary art production, and assemble a collection that embodies “Chineseness.” His encyclopedic impulse is admirable, but the results are less neutral, and less documentary, than he might lead us to believe.\u003c/p>\n\u003cp>Sigg, like so many others who work with Chinese contemporary art, treats Chinese as a veiled “Other.” The curatorial approach to Mahjong draws heavily upon Orientalist tropes. Due to the Cultural Revolution, the story goes, China was hidden from the Western gaze, and her artists were cut off from contact with the West. Chinese art, like Chinese history, was supposedly divorced from the world, and Chinese contemporary art developed in that secret space. Chinese contemporary art, then, cannot — and should not — be judged on par with Western art. The same standards cannot apply to Chinese contemporary art. Chinese contemporary art must be judged on separate terms. Often, the object’s ability to convey “Chineseness” becomes a key determinant of its value as a work of art. And because that narrative of Chinese art history continues to dominate the discourse, most criticism and scholarship — and consequently, most curatorial approaches — continue to embrace this double standard.\u003c/p>\n\u003cp>Most critics and curators of contemporary art would find it laughable to organize a show around the essential principles of “Frenchness” or “Americanness,” yet curators of contemporary Chinese art continue to incorporate essentialist notions of “Chineseness” into their shows. To put it bluntly, in every show about Chinese art, there must be a panda. (There is at least one panda in Mahjong. It appears in Zhao Bandi’s \u003cb>A Tale of Love Gone Wrong\u003c/b> for Pandaman (2003).) Can you imagine if every show about contemporary American art included an American flag, or worse, Mickey Mouse?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Mahjong, the objects hit all the familiar high notes — we observe cosmopolitan scenes from Beijing and Shanghai, we encounter elements drawn from China’s Classical past, we enjoy Chinese calligraphy, porcelain, and embroidery, we revel in exquisite glazes and sumptuous silks. In other words, the objects conform to our expectations of “something Chinese.” We need not possess knowledge of Chinese geography nor history to take pleasure in the spectacle before us.\u003c/p>\n\u003cp>The China that we encounter at the Berkeley Art Museum is protean, changeable, but still deeply inflected with Orientalism. This China is less a geographic place than a free-floating construct. In the past decade, the concept of China has taken on an intense, almost totemic significance. In our century, China re-emerged as a major player on the world stage, a development that startles — and unsettles — many in the West. The overheated Chinese contemporary art market was largely driven by a Western desire to own and know the slippery, mysterious Oriental “other.”\u003c/p>\n\u003cp>Witness the Western — European and American — fascination with the 2008 Beijing Olympics, a fascination exemplified by the press’s curious mixture of admiration and disgust, denigration and celebration, towards China and its people. In China, they eat scorpions on a stick. In China, they drink Coca-Cola. The Chinese are at once potentially human — and utterly alien. The tropes of Orientalism return, now broadcast in high definition.\u003c/p>\n\u003cp>Taken as a group, the works in Mahjong convey that same unsettling mixture of fear and fascination. In the exhibition, China often comes across as grotesque and somewhat sinister, a place where the human figure is continually under stress. For example, Yue MinJun’s paintings feature grotesque, mask-like figures, dressed in everyday garb, but performing unorthodox, and highly disturbing, actions. \u003cb>2000 A.D.\u003c/b>, Yue’s large-scale installation, features row upon row of the same grinning figure, his face contorted into something resembling a death mask. Dressed in a white t-shirt and blue jeans, barefoot, with his eyes shut and his hands crossed behind his back, the man seems neither happy nor relaxed. Taken en masse, Yue’s figures remind me of the Chin dynasty terracotta warriors, who were buried with their master in lieu of the usual human sacrifice. Wang Jin’s \u003cb>Ice Wall\u003c/b> depicts frenzied villagers tackling a wall made of ice, tearing objects (described as “highly desirable consumer goods”) and bearing them away.\u003c/p>\n\u003cp>There is also the other China, the beautiful and desirable one. We encounter this particular dream China in Mahjong as well, in the form of Wang Jin’s haunting 1997 work, \u003cb>The Dream of China\u003c/b>, where a translucent plastic (or PVC?) copy of an embroidered silk court robe hangs suspended from a large metal hook, a gossamer mirage of exotic beauty. And we meet it again in Shi Guorui’s photo-panorama, \u003cb>Shanghai, China, 15-16 October 2004\u003c/b>, and in the pseudo-calligraphy practiced by Gu Wenda and Xu Bing. This is the Orient that is mysterious and fascinating, that beguiles us but remains veiled.\u003c/p>\n\u003cp>Despite its scale, Mahjong is more a show about Western visions of China than a show about contemporary art practice in China. We come away from the show with very little new knowledge about contemporary China — we can leave, in fact, without ever figuring out the proper geographic relationship between Shanghai and Beijing — but with plenty of insight into the West’s projections of China and the Orient. Until Western curators figure out a different way to narrate Chinese art history, we will continue to rehearse our own Orientalist versions of that story, and our shows about Chinese art will continue to resemble a hall of mirrors, continually reflecting our own gaze back at us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mahjong: Contemporary Art from the Sigg Collection\u003c/b> is on display at the Berkeley Art Museum through January 4, 2009. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/mahjong\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was my first time at the remodeled de Young Museum and it was a circus. No, really. The Gregangelo and Velocity Circus was there as part of the Friday Nights at the de Young event series. As if that weren’t enough to attract every child within twenty miles of Golden Gate Park, a “hands-on art activity for the entire family” was also taking place. Brightly colored pipe cleaners and Styrofoam balls overflowed the tables, as parents admired their children’s oddly shaped creations. To get through the mobs and reach Timothy Horn’s \u003cb>Bitter Suite\u003c/b>, I adopted the same survival strategy I use when walking through dangerous neighborhoods. I put my head down and maintained a look of mild shock on my face.\u003c/p>\n\u003cp>Horn, an Australian artist, created \u003cb>Bitter Suite\u003c/b> as part of the museum’s Collection Connections series, in which artists reinterpret and riff on works in the permanent collection. He was inspired by the biography and artifacts of \u003ca href=\"http://www.sfhistoryencyclopedia.com/articles/biography/spreckelsAlma.html\" target=\"offsite\" rel=\"noopener\">Alma le Normand de Bretteville Spreckels\u003c/a>, the widow of sugar baron and Legion of Honor founder Adolph Spreckels. Alma was famous for her pursuit and acquisition of high-society status symbols, and was rumored to use a gilded throne in her mansion’s telephone booth. Horn has created exaggerated versions of Alma’s objects out of sugar, emphasizing their symbolic function while revealing the source of the Spreckels’s wealth — the sugar industry.\u003c/p>\n\u003cp>The exhibit’s three sculptures rise like a surreal mirage from the ground of the otherwise conservative gallery space. \u003cb>Sweet Thing\u003c/b> consists of blown glass and nickel-plated bronze and resembles a gargantuan pearl-drop earring. \u003cb>Mother-Load\u003c/b> is a large rust-colored carriage constructed from metal and rock candy. \u003cb>Diadem (light heavyweight)\u003c/b> is also partially made from crystallized sugar. More garish than ornate, the chandelier-shaped sculpture seems to drip from the ceiling. Both the carriage and chandelier look as though they are made of churros, those Spanish pastries I am always tempted to buy from sidewalk vendors in the Mission District. The neighboring New England nature photographs and African sculptures were boring in comparison.\u003c/p>\n\u003cp>\u003cb>Bitter Suite\u003c/b> is most notable for its size and unconventional materials. “How do you make a carriage out of rock candy?” I found myself thinking. Unfortunately, I thought much less about the work’s conceptual underpinnings. I don’t fault the artist as much as the evening. The mood from downstairs had infected me. Horn’s sculptures were like reflections in a fun-house mirror, and I wasn’t capable of much more than those parents downstairs, overwhelmed by the crowds, smiling at anything with a pretty color and a pleasing shape.\u003c/p>\n\u003cp>Timothy Horn’s \u003cb>Bitter Suite\u003c/b> is on display at the de Young Museum through October 12, 2008. For more \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=910\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit famsf.org/deyoung.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Joan Didion said it so well: “We tell ourselves stories in order to live.” We take our messy lives and we insert opening scenes and arcing plots and eventual morals. We organize facts and occurrences and impressions into narratives, which we tell and retell, amend, edit, and tell again.\u003c/p>\n\u003cp>All of the artists included in the Hosfelt Gallery’s \u003cb>Vocabularies of Metaphor: More Stories\u003c/b> tell narratives, tales both sweeping and intimate, through images. The fifteen artists in the show are predominantly female and contemporary. Henry Darger, male and deceased, is one of the few exceptions. His two panoramic drawings on display, \u003cb>Untitled (At Jennie Richee, Vivian Girls Carrying Guns)\u003c/b>, and \u003cb>Untitled (Abbieannian Flamingo Girl Scouts)\u003c/b>, serve as an aesthetic and conceptual precedent for many of the other artists’ styles and techniques.\u003c/p>\n\u003cp>Darger (b. 1892, d. 1973) was a reclusive janitor whose drawings of a detailed imaginary epic were discovered upon his death. His characters are based on the periodicals of his day, the simple figures of funny pages and newspaper advertisements. He multiplies the stereotypical bobbed schoolgirl to create an army he calls the Vivian Girls. Stripping them of clothes and giving them penises, Darger depicts the crowds of cherubic girls at play and also at war. Some skip and hold hands; others wear artillery belts and carry bayonets. Sagging cartoon-style palm trees and leafy elms mix in the background. It is an impossible place, yet one that is still recognizable.\u003c/p>\n\u003cp>Like Darger, artists Ruth Marten and Amy Cutler take familiar imagery and alter its context and meaning. Marten uses 18th and 19th-century etchings and lithographs as her starting point. She augments the dated didactic illustrations with whimsical details and colors. Jewel-colored eggs fall from a bird into a large sack in \u003cb>Abundance\u003c/b>. An ornithological illustration becomes a fairy tale in \u003cb>Salon des Chics\u003c/b>, as birds receive bottle cap bridal veils and bows and garlic cloves for hats. The tension comes from the relationship between the original sources’ scientific certainty and Marten’s playfulness. A lesson becomes a daydream before our eyes.\u003c/p>\n\u003cp>Amy Cutler creates a realm of female domesticity, one filled with printed housedresses, signature hairstyles and the dissatisfied faces of housewives. In \u003cb>Sugar Foot\u003c/b>, women eat chocolate cake amidst a scene of stacked sugar sacks and a table and chairs. The grim expressions of those who sit upright tell us that the home-cooked is not always a salve for frayed nerves. The domestic can make you sick. As Darger did with schoolgirls, Cutler does with stock images of feminine domesticity, updating and individualizing the women (primarily through their clothes) to incorporate them into her own ongoing story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But some artists in the show have nothing in common with Darger. Rather than a decades-long war fought by hundreds, Yuka Yamaguchi’s illustrations chronicle intimate individual tragedies. In \u003cb>3am\u003c/b>, animated breasts sit on a woman’s head holding fishing poles. The hooks catch her ear lobe and nose. It is a private moment of self-torture, the circular argument that keeps you up at night. \u003cb>My First Time\u003c/b> gives us the crossed legs of a schoolgirl wearing a short skirt and red stained underwear. Her top half has been replaced by an exposed human heart and a pair of blood-tinged scissors sits by her side. We don’t need to ask to know what happened.\u003c/p>\n\u003cp>The exhibit only includes images done by hand — painting, illustration, collage. There is a pleasing tactility to nearly everything in the show. This is especially true in Marten’s mixed-media pieces, in which we can see the spots where she has cut away one layer of paper to insert her own additions underneath. The visible accumulation of colors and details and paper tells a story in itself. Like a patina, it can only be achieved over time — there is nothing instantaneous here. And time is necessary for any story to develop. We are able to make sense of things only after the fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Vocabularies of Metaphor: More Stories\u003c/b> is on display at the Hosfelt Gallery, 430 Clementina, San Francisco, through October 18. A reading series is scheduled to accompany the show. Remaining events include Daniel Alarcon, 6:30 p.m. Sept. 24; Eric Puchner, 6:30 p.m., Oct. 15; and Barry Gifford, 6:30 p.m. Oct. 29. For \u003ca href=\"http://www.hosfeltgallery.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit hosfeltgallery.com or call the gallery at 495-5454.\u003c/p>\n\n",
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"content": "\u003cp>As I sat on the chair in Galeria de la Raza Saturday afternoon, a young man with an American flag scarf wrapped around his leg sat down on the floor beside me.\u003c/p>\n\u003cp>His questions were short, half in Spanish, half in English. “Where did you?” “Shoes?” He pointed to my sandals. Could he? He touched my sandals’ soft worn straps and took off his sneakers, so hot around his bare feet. Okay, I said, he could try one on. I gave him one of my shoes and he slid his foot into it. Then we sat together, each of us with one bare foot, saying words the other one didn’t understand, smiling to soften our miscomprehension.\u003c/p>\n\u003cp>I was at the gallery to see \u003cb>On the Wall\u003c/b>, an exhibit featuring a large mural and video. The works, created by the Trust Your Struggle artist collective and artists from the Kearny Street Workshop, examine “the current issues of the immigration debate, such as shifting identities, cultural ownership and community building,” according to the gallery’s Web site.\u003c/p>\n\u003cp>The mural, which covers every inch of the gallery’s walls, was created by four artists from the Trust Your Struggle collective over a weeklong period. When the show ends September 26, 2008 it will disappear. It is unique and ephemeral; its residence temporary. The mural’s eventual demise is an obvious metaphor for migration and its attendant disruptions. We lose things when we move, it reminds us. We often do not get them back.\u003c/p>\n\u003cp>The mural itself consists of several scenes, some more intelligible than others. Some walls are a collage of figures and patterns, stenciled words and patches of color. A woman with long braids and a purple face bends over as though performing manual labor. Behind are painted strips of lace, mimicking the tiers of a dress. “They can’t deport us,” it reads in thick black type. Sprays of purple and red paint spread around the words. “1848” is written further up the wall, referencing the end of the U.S.-Mexico War, and the United States’s acquisition of what is now California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On another wall, a more linear tale is told. A cluster of cardboard houses, brightly painted and stacked upon each other, reside in a corner. A single clothes line reaches out from the village toward a gray and white ocean scene. A large arc floats atop jagged waves. Through the boat’s below-deck windows, we see a crowd of pained faces. On the far side of the ship is another world. A monotone cityscape, also made of cardboard, rises in an indifferent heap. The two sites, one presumably in Latin America, the other in the United States, are drastically different, and the voyage between is an indefinite purgatory. Other visual motifs reference the tentativeness of migration. Hot air balloons float high up on the walls. Men trail behind hanging on ropes, sometimes falling to the ground.\u003c/p>\n\u003cp>I took what messages I could from the mural’s visual storytelling. The line between Mexico and the United States has been drawn and redrawn, moved and hyphenated. The two countries are inseparable despite the border between them, economically and culturally interdependent. And the journey across is treacherous. To be a migrant, either in transit or at your destination, is to be in danger.\u003c/p>\n\u003cp>As I sat in the chair with my notebook in my hand, struggling over what to observe and record, I still felt I had missed something. I could look at the images and try to decode their meanings, but the translation was spotty, incomplete, and garbled. I want to think I understand immigration, that I can relate it to my own experiences of displacement. But my own journeys, from the suburbs to the city, and the West Coast to the East Coast, are drastically different than the one from Latin America to the United States. They are incomparable. And as I sat beside the young man in the too-big tee-shirt, struggling to discuss sandals and drugstores, my miscomprehension was too great to ignore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>On the Wall\u003c/b> is at Galeria de la Raza, 2857 24th St., San Francisco, until September 26.\u003c/p>\n\n",
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"content": "\u003cp>I spent much of August waiting for things to change. For job applications to turn into paychecks, phone calls to turn into faces, and for hot, hot days to mellow into an autumn routine. I was not hoping for gradual change — the incremental shift in perspective that occurs as you hike up a long steep trail — but for a dramatic reversal. Alchemy. I pinned my hopes to the possibility that monotony could give birth to its opposite, the unexpected.\u003c/p>\n\u003cp>I spent quite a bit of time at the Mixing Bowl, a new café and restaurant in Oakland’s Temescal District. They have free refills on coffee and are a downhill bike ride from my apartment. I spent long mornings reading free weeklies and writing in my journal. And sometime mid-month, I looked up. Berkeley artist Jon Stich has eight paintings hanging on the Mixing Bowl’s walls. Many were initially done for editorial clients, such as the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Hyphen\u003c/i> magazine. But the works don’t need words to be understood. They have stories of their own.\u003c/p>\n\u003cp>Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. Each work contains internal contradictions and impossibilities. In \u003cb>A Simple Solution\u003c/b>, a Sumo wrestler squats on what looks like a slanted San Francisco street, a row of Victorian homes in the background. Babies crawl and roll in the street beneath him, while fighter jets form a pattern in the distance. A man fishes from a small dinghy in a river — I imagine the back swamps of Louisiana — in \u003cb>The Ubiquitous Van 2\u003c/b>. A repurposed U-Haul truck hovers behind him, graffiti covering its sides, the urban intruding on the backcountry. Stich’s even style prevents such contradictions from becoming discordant or overly playful. Instead, they appear revelatory, possessing the logic and authority of a dream. The rational brain knows it can’t happen, but the gut knows it’s true.\u003c/p>\n\u003cp>In \u003cb>The Day They Do\u003c/b>, a man in a field holds a pig by a leash. Clear dragonfly wings have sprouted from the animal’s back. This pig can finally fly. All has supposedly changed. Still the scene is mundane. The farmer’s hat is dirty, his pants wrinkled and worn. The impossible and the actual merge into one scene. The farfetched and the everyday coexist. Miracles on a dusty hot field.\u003c/p>\n\u003cp>As it often happens, I began to read my own story into the art on the wall. In \u003cb>Still Life With Flowers\u003c/b>, a girl sits with folded legs staring at an altar to the dead, waiting for the ordinary to sprout wings and fly away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jon Stich’s work will be on display at the Mixing Bowl, 4920 Telegraph Ave., Oakland, until September 20, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I spent much of August waiting for things to change. For job applications to turn into paychecks, phone calls to turn into faces, and for hot, hot days to mellow into an autumn routine. I was not hoping for gradual change — the incremental shift in perspective that occurs as you hike up a long steep trail — but for a dramatic reversal. Alchemy. I pinned my hopes to the possibility that monotony could give birth to its opposite, the unexpected.\u003c/p>\n\u003cp>I spent quite a bit of time at the Mixing Bowl, a new café and restaurant in Oakland’s Temescal District. They have free refills on coffee and are a downhill bike ride from my apartment. I spent long mornings reading free weeklies and writing in my journal. And sometime mid-month, I looked up. Berkeley artist Jon Stich has eight paintings hanging on the Mixing Bowl’s walls. Many were initially done for editorial clients, such as the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Hyphen\u003c/i> magazine. But the works don’t need words to be understood. They have stories of their own.\u003c/p>\n\u003cp>Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. Each work contains internal contradictions and impossibilities. In \u003cb>A Simple Solution\u003c/b>, a Sumo wrestler squats on what looks like a slanted San Francisco street, a row of Victorian homes in the background. Babies crawl and roll in the street beneath him, while fighter jets form a pattern in the distance. A man fishes from a small dinghy in a river — I imagine the back swamps of Louisiana — in \u003cb>The Ubiquitous Van 2\u003c/b>. A repurposed U-Haul truck hovers behind him, graffiti covering its sides, the urban intruding on the backcountry. Stich’s even style prevents such contradictions from becoming discordant or overly playful. Instead, they appear revelatory, possessing the logic and authority of a dream. The rational brain knows it can’t happen, but the gut knows it’s true.\u003c/p>\n\u003cp>In \u003cb>The Day They Do\u003c/b>, a man in a field holds a pig by a leash. Clear dragonfly wings have sprouted from the animal’s back. This pig can finally fly. All has supposedly changed. Still the scene is mundane. The farmer’s hat is dirty, his pants wrinkled and worn. The impossible and the actual merge into one scene. The farfetched and the everyday coexist. Miracles on a dusty hot field.\u003c/p>\n\u003cp>As it often happens, I began to read my own story into the art on the wall. In \u003cb>Still Life With Flowers\u003c/b>, a girl sits with folded legs staring at an altar to the dead, waiting for the ordinary to sprout wings and fly away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of \u003cb>Contemporary Glass\u003c/b> from local collections and put on a show. The reason for this modest endeavor was not to respond to the gargantuan scale of \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23062\" target=\"offsite\" rel=\"noopener\">Chihuly at the de Young\u003c/a>. Rather, it was to call attention to the connection between Stanford University and the Venetian glass firm of Salviati & Co., whose mosaic murals grace Stanford Memorial Church. Jane Stanford herself gave the Salviati company the commission, for which the Salviati company gave Mrs. Stanford some 200 glass vessels as a thank-you gift.\u003c/p>\n\u003cp>As conceits go, this one’s predictably precious, but Stanford is not the only august institution of higher learning to be somewhat taken with itself, so it’s in good company. More interesting than the self-congratulatory reason for the show is the art and, like it or not, how this exhibition compares to the three-ring circus to the north.\u003c/p>\n\u003cp>The pieces in \u003cb>Contemporary Glass\u003c/b> are displayed in the circular Oshman Family Rotunda (the balcony overlooking the Rodin sculptures) and the long H. L. Kwee Galleria (the second-floor passageway adjacent to the main galleries of contemporary art). The show begins at the nexus of both spaces with a hand-painted, lampworked piece from 1995 by Ginny Ruffner. Like many of Ruffner’s sculptures, this one, called \u003cb>Double Dutch\u003c/b>, is built on an open armature of glass, which, in this case, resembles a six-sided diamond pointing up. Attached wherever it seems convenient and aesthetically sensible is a heart, fish hook, picture frame, flower, and pair of frontward and backward capital Ds, whose voids have been filled in with almost naive copies of the couple in the famous Jan van Eyck painting from 1434 called \u003cb>The Arnolfi Portrait\u003c/b>. Never mind that van Eyck was not Dutch; Ruffner is more interested in poetry than precision. The surface of Ruffner’s work is the thing that continues to get me. I just love the way her colors alternately hide or accentuate the sand-pitted surface of her fragile, occasionally unwieldy, forms.\u003c/p>\n\u003cp>Just down the hall is a lovely piece by Richard Royal, who spent a couple of decades (or maybe it just felt like that) as a gaffer on various Chihuly teams. Part of the \u003cb>Relationship Series\u003c/b>, this 1992 work consists of a pair of bowls, one a soft blue, the other an equally quiet green, whose bases, if you can imagine this, are shaped like snaking tails or tendrils. The tails face each other so that one bowl rests on its rim while the other is open at the top. In the middle, simultaneously being caressed by and holding these two mirror images together, is a traditionally shaped purple vase, suspended in space by the embrace of the green and blue tendrils. Like much of Royal’s work, this deceptively simple piece does not call undue attention to itself. Certainly there are countless more fantastic examples of these sorts of snaking shapes, in a shamelessly varied range of colors, up at the de Young, but Royal is not going for volume here. For him, it’s quite enough, thank you, to do one thing with modest perfection.\u003c/p>\n\u003cp>Toward the end of the hall is one of two works in the show by Richard Marquis. This one is a teapot from 1977, which was selected, no doubt, because of Marquis’s use of murrine, which are slender threads of glass that have been collected and then fused to reveal patterns or designs when they are cut into cross sections (picture sushi, with white glass for the rice, purple glass for the tuna, green for the cucumber, etc.) Marquis’s murrine designs lean to hearts, stars, and checkerboards, which he applies to his vessels when they are still hot. As the vessel expands and is deliberately distorted, the murrine become blurry and irregularly shaped, all of which gives the teapot the look of something you might find in the kitchen cupboard of one of the Freak Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other pieces to spend some time with include \u003cb>Yellow and Ferrari Red Palla\u003c/b> by Benjamin Moore, who has also done his time working for Chihuly, and two untitled forms by Lino Tagliapietra, the Venetian master who taught a number of the artists here more than a few of the most important secrets of the Venetian glass trade. Tagliapietra’s pieces, both from 1997, have a mid-century-modern sensibility that’s unique in this group. The pink and blue colors are deliberately dull while the shapes (the blue one is weirdly tall while the pink lozenge-shaped piece feels vaguely feminine) are just plain odd. The vertical black pinstriping on the surfaces of the pieces completes their retro feel, but it’s the surface beneath the surface of these curious objects that catches you by surprise. Using a technique called battuto, Tagliapietra has carved lines resembling the marks for a woodcut into small sections of his pieces. The rest of the surface below the pinstriping has been painstakingly chipped away to give the objects the look of a pair ancient hammered copper urns.\u003c/p>\n\u003cp>The Chihulys in the Rotunda are handsome enough, although by now we have been well trained by the artist to expect a great deal more, as is the \u003cb>Petroglyph Vessel\u003c/b> from 1990 by William Morris (another Chihuly factory alum). But the objects you are most likely to fall in love with are the bowls from 1995 and 2006 by Mary Ann (Toots) Zynsky. Unlike Ruffner, who paints in a fairly traditional manner on her surfaces, Zynsky’s pieces are all paint, built entirely from the wire-like threads of pure colored glass that Marquis and others use to create murrine. Instead of forming her threads into rods that are meant to be sliced, heated, and then expanded, Zynsky works with the threads themselves, painting in three dimensions with their colors and then slumping and fusing her compositions into organic, bowl- or basket-like shapes. Resembling nests created by a bird with a highly developed sense of color and a serious case of obsessive-compulsive disorder, Zynsky’s work remains singular amid the gloss of much contemporary glass. Her pieces don’t shine, but oh how they glow.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Contemporary Glass\u003c/b> runs indefinitely at Cantor Arts Center, Lomita Drive and Museum Way, Stanford. Admission is free; closed Mondays and Tuesdays. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">information\u003c/a> visit museum.stanford.edu or call 650-723-4177.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of \u003cb>Contemporary Glass\u003c/b> from local collections and put on a show. The reason for this modest endeavor was not to respond to the gargantuan scale of \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23062\" target=\"offsite\" rel=\"noopener\">Chihuly at the de Young\u003c/a>. Rather, it was to call attention to the connection between Stanford University and the Venetian glass firm of Salviati & Co., whose mosaic murals grace Stanford Memorial Church. Jane Stanford herself gave the Salviati company the commission, for which the Salviati company gave Mrs. Stanford some 200 glass vessels as a thank-you gift.\u003c/p>\n\u003cp>As conceits go, this one’s predictably precious, but Stanford is not the only august institution of higher learning to be somewhat taken with itself, so it’s in good company. More interesting than the self-congratulatory reason for the show is the art and, like it or not, how this exhibition compares to the three-ring circus to the north.\u003c/p>\n\u003cp>The pieces in \u003cb>Contemporary Glass\u003c/b> are displayed in the circular Oshman Family Rotunda (the balcony overlooking the Rodin sculptures) and the long H. L. Kwee Galleria (the second-floor passageway adjacent to the main galleries of contemporary art). The show begins at the nexus of both spaces with a hand-painted, lampworked piece from 1995 by Ginny Ruffner. Like many of Ruffner’s sculptures, this one, called \u003cb>Double Dutch\u003c/b>, is built on an open armature of glass, which, in this case, resembles a six-sided diamond pointing up. Attached wherever it seems convenient and aesthetically sensible is a heart, fish hook, picture frame, flower, and pair of frontward and backward capital Ds, whose voids have been filled in with almost naive copies of the couple in the famous Jan van Eyck painting from 1434 called \u003cb>The Arnolfi Portrait\u003c/b>. Never mind that van Eyck was not Dutch; Ruffner is more interested in poetry than precision. The surface of Ruffner’s work is the thing that continues to get me. I just love the way her colors alternately hide or accentuate the sand-pitted surface of her fragile, occasionally unwieldy, forms.\u003c/p>\n\u003cp>Just down the hall is a lovely piece by Richard Royal, who spent a couple of decades (or maybe it just felt like that) as a gaffer on various Chihuly teams. Part of the \u003cb>Relationship Series\u003c/b>, this 1992 work consists of a pair of bowls, one a soft blue, the other an equally quiet green, whose bases, if you can imagine this, are shaped like snaking tails or tendrils. The tails face each other so that one bowl rests on its rim while the other is open at the top. In the middle, simultaneously being caressed by and holding these two mirror images together, is a traditionally shaped purple vase, suspended in space by the embrace of the green and blue tendrils. Like much of Royal’s work, this deceptively simple piece does not call undue attention to itself. Certainly there are countless more fantastic examples of these sorts of snaking shapes, in a shamelessly varied range of colors, up at the de Young, but Royal is not going for volume here. For him, it’s quite enough, thank you, to do one thing with modest perfection.\u003c/p>\n\u003cp>Toward the end of the hall is one of two works in the show by Richard Marquis. This one is a teapot from 1977, which was selected, no doubt, because of Marquis’s use of murrine, which are slender threads of glass that have been collected and then fused to reveal patterns or designs when they are cut into cross sections (picture sushi, with white glass for the rice, purple glass for the tuna, green for the cucumber, etc.) Marquis’s murrine designs lean to hearts, stars, and checkerboards, which he applies to his vessels when they are still hot. As the vessel expands and is deliberately distorted, the murrine become blurry and irregularly shaped, all of which gives the teapot the look of something you might find in the kitchen cupboard of one of the Freak Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other pieces to spend some time with include \u003cb>Yellow and Ferrari Red Palla\u003c/b> by Benjamin Moore, who has also done his time working for Chihuly, and two untitled forms by Lino Tagliapietra, the Venetian master who taught a number of the artists here more than a few of the most important secrets of the Venetian glass trade. Tagliapietra’s pieces, both from 1997, have a mid-century-modern sensibility that’s unique in this group. The pink and blue colors are deliberately dull while the shapes (the blue one is weirdly tall while the pink lozenge-shaped piece feels vaguely feminine) are just plain odd. The vertical black pinstriping on the surfaces of the pieces completes their retro feel, but it’s the surface beneath the surface of these curious objects that catches you by surprise. Using a technique called battuto, Tagliapietra has carved lines resembling the marks for a woodcut into small sections of his pieces. The rest of the surface below the pinstriping has been painstakingly chipped away to give the objects the look of a pair ancient hammered copper urns.\u003c/p>\n\u003cp>The Chihulys in the Rotunda are handsome enough, although by now we have been well trained by the artist to expect a great deal more, as is the \u003cb>Petroglyph Vessel\u003c/b> from 1990 by William Morris (another Chihuly factory alum). But the objects you are most likely to fall in love with are the bowls from 1995 and 2006 by Mary Ann (Toots) Zynsky. Unlike Ruffner, who paints in a fairly traditional manner on her surfaces, Zynsky’s pieces are all paint, built entirely from the wire-like threads of pure colored glass that Marquis and others use to create murrine. Instead of forming her threads into rods that are meant to be sliced, heated, and then expanded, Zynsky works with the threads themselves, painting in three dimensions with their colors and then slumping and fusing her compositions into organic, bowl- or basket-like shapes. Resembling nests created by a bird with a highly developed sense of color and a serious case of obsessive-compulsive disorder, Zynsky’s work remains singular amid the gloss of much contemporary glass. Her pieces don’t shine, but oh how they glow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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"title": "Reveal",
"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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": {
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