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"content": "\u003cp>Artist Keba Konte, whose exhibit \u003cb>888 Pieces of We\u003c/b> is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life. Pure autobiography. After two years in art school, I find this explanation both refreshing and frustrating. Nobody’s talking about Duchamp, thankfully, but I don’t believe any artist’s work can be adequately explained in terms of their own life story. I find it more worthwhile to discuss this exhibit, featuring 888 photographs transferred onto wood, copper, and other surfaces, in terms of the photographic traditions it both upends and upholds.\u003c/p>\n\u003cp>Nearly 1,000 of Konte’s sculptural images are arranged together like a mosaic on the gallery’s purple and brown walls: faded out afros and wide smiles, tight hugs, dignified poses and youthful antics. A recurring image of a tile with double eights references Konte’s birthday, August 8, a symbol of wealth and abundance. Many images reference photography’s role in everyday life. We see Konte’s school picture from 1979. Each student’s individual head shot is reprinted on a white rectangle in a Brady Bunch-like arrangement of separate squares. School pictures measure the passing of time and become the authoritative records of particular grades. No matter how you changed your hair or lost weight later in the semester, your school picture defines who you were that year.\u003c/p>\n\u003cp>Photo-booth strips, a man holding a manual camera, a kitchen scene with a refrigerator covered with family snapshots further reference the central role photography can play in creating identities and relationships. A photograph transferred onto the back of an ironing board suggests the simultaneity of daily chores and picture-taking. We weren’t paying attention, it was a day like any other, and look there’s a picture of it.\u003c/p>\n\u003cp>As contemporary photography becomes increasingly immaterial, consisting of pixels on a screen or data on a memory card, Konte takes it in the opposite direction. By transferring photographic images onto tactile surfaces, he restores the photograph’s physical presence. There’s an implied reverence in this act, similar to the way that, nowadays, we only print our very favorite photographs, leaving the others for a digital slideshow or deleting them altogether. Konte’s process says something. These moments, in their everyday-ness, in the way they seemed to happen so quickly, were important. How personal they were, how overlooked they might have been. Maybe it is about autobiography after all.\u003c/p>\n\u003cp>\u003cb>888 Pieces of We\u003c/b> is on display at the Oakland Art Gallery through September 8, 2008. The gallery is located at 199 Kahn’s Alley in the Oakland City Center. For more information, call 510.637.0395.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist Keba Konte, whose exhibit \u003cb>888 Pieces of We\u003c/b> is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life. Pure autobiography. After two years in art school, I find this explanation both refreshing and frustrating. Nobody’s talking about Duchamp, thankfully, but I don’t believe any artist’s work can be adequately explained in terms of their own life story. I find it more worthwhile to discuss this exhibit, featuring 888 photographs transferred onto wood, copper, and other surfaces, in terms of the photographic traditions it both upends and upholds.\u003c/p>\n\u003cp>Nearly 1,000 of Konte’s sculptural images are arranged together like a mosaic on the gallery’s purple and brown walls: faded out afros and wide smiles, tight hugs, dignified poses and youthful antics. A recurring image of a tile with double eights references Konte’s birthday, August 8, a symbol of wealth and abundance. Many images reference photography’s role in everyday life. We see Konte’s school picture from 1979. Each student’s individual head shot is reprinted on a white rectangle in a Brady Bunch-like arrangement of separate squares. School pictures measure the passing of time and become the authoritative records of particular grades. No matter how you changed your hair or lost weight later in the semester, your school picture defines who you were that year.\u003c/p>\n\u003cp>Photo-booth strips, a man holding a manual camera, a kitchen scene with a refrigerator covered with family snapshots further reference the central role photography can play in creating identities and relationships. A photograph transferred onto the back of an ironing board suggests the simultaneity of daily chores and picture-taking. We weren’t paying attention, it was a day like any other, and look there’s a picture of it.\u003c/p>\n\u003cp>As contemporary photography becomes increasingly immaterial, consisting of pixels on a screen or data on a memory card, Konte takes it in the opposite direction. By transferring photographic images onto tactile surfaces, he restores the photograph’s physical presence. There’s an implied reverence in this act, similar to the way that, nowadays, we only print our very favorite photographs, leaving the others for a digital slideshow or deleting them altogether. Konte’s process says something. These moments, in their everyday-ness, in the way they seemed to happen so quickly, were important. How personal they were, how overlooked they might have been. Maybe it is about autobiography after all.\u003c/p>\n\u003cp>\u003cb>888 Pieces of We\u003c/b> is on display at the Oakland Art Gallery through September 8, 2008. The gallery is located at 199 Kahn’s Alley in the Oakland City Center. For more information, call 510.637.0395.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>1000 Journals\u003c/b>, unlike most films about art and artists, has little interest in probing the mysterious process of creation. Beginning in San Francisco and spiraling outward, this globetrotting documentary is rather an investigation into the nature of community in the digital, globalized age.\u003c/p>\n\u003cp>If that sounds like an impossible topic to get one’s arms around in 88 minutes, you’d be right. Wisely, filmmaker Andrea Kreuzhage eschews overarching generalizations, grandiose platitudes and trendy hipness in favor of a handful of thought-provoking kernels. The downside, though, is those flashes of insight may speak more directly to artists than to the rest of us. That niche audience will certainly have more patience for the obsessive and self-indulgent artistes who pop up in the film with some regularity.\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b>, which had its local premiere at the S.F. International Film Festival, was inspired by \u003cb>The 1000 Journals Project\u003c/b>. A local graphic artist with the pseudonym Someguy conceived and executed the idea of spreading a thousand blank journals around the world. His intention was that they be passed from hand to hand with people contributing text, drawings, collage, and detritus (to name just the most obvious forms of expression). Someguy created a Web site to display scanned pages from the journals still out in the wild (so to speak); as word spread, the site allowed people who wished to participate in the project to sign up for a book.\u003c/p>\n\u003cp>Someguy instructed that the completed journals be sent to his San Francisco abode but — here’s the rub — only one made its way back to him in three years. Kreuzhage, a German expatriate who’d been working in L.A. for the last several years, set out to locate at least a few of the vanished 999.\u003c/p>\n\u003cp>The beautifully photographed documentary has the air of an existential thriller at the outset, and early on Kreuzhage unearths some unexpected emotional territory. In Toronto, a few contributors acknowledge the heavy responsibility that ascribes to anyone in possession of a journal. A key obligation, they assert, is passing the book on to the next person in a timely fashion. A splash of guilt washes briefly over the film; that guilt is amusingly channeled during the end credits to the reprobates in the viewing audience who are Bogarting a journal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another responsibility that some contributors take very seriously and others disdain is leaving previous entries intact. Two cocky girls in Adelaide, Australia, have no compunction about “improving” the chronic bad taste that mars the journal that comes into their possession. Are they merely expressing their own artistic impulses, or stomping on the concept of collaboration and dumping on the idea of community? I wonder if the artists in the crowd will answer differently than the “civilians.”\u003c/p>\n\u003cp>To me, a journal evokes diary, confession and sidewalk philosophy. No doubt because I’m a writer, and not an artist, I’m disappointed that \u003cb>1000 Journals\u003c/b> minimizes text entries in favor of an array of flamboyant artwork culled from the pages of the journals. Movies are a visual medium, of course, so it makes a certain sense. But I find the anonymous confidings of an anonymous individual, alive on the planet at the same instant as I but far, far away, more touching and direct than a lush bricolage.\u003c/p>\n\u003cp>That said, the film addresses the randomness of \u003cb>The 1000 Journals Project\u003c/b> from a couple of different angles, notably through the impact that one person’s art has on a subsequent recipient/contributor of the journal. (These cases qualify for adjudication under the Law of Unintended Consequences.) The first time I saw the documentary, I experienced the magic and charm of random acts of journal-ism. But when I revisited the film a second time, some three months later, it felt shallower and more disjointed, with the variety of interviewees and experiences reflecting individual personalities rather than representing entry points to an invisible global community.\u003c/p>\n\u003cp>And yet, even if \u003cb>1000 Journals\u003c/b> is not as profound as it would like to be, it suggests that the human impulse to imagine — if not create — a utopia is still alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b> is now playing at the Roxie Theater in San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>My friend can’t figure out where he belongs — there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, “Which is home?” Sometimes he sounds desperate, scared that if he doesn’t belong in one place he must not belong anywhere. But I’ve thought about it, and I think he’s wrong. I think we carry the places we’ve been to the places we go, and that we are never merely in one place at a time; we are in many. Geography never contains us.\u003c/p>\n\u003cp>I’ve given him advice on his dilemma, but it doesn’t work. Still, in one last attempt, I told him to visit the current exhibit at Root Division. \u003cb>Insider/Outsider\u003c/b> consists of work by sixteen artists who are first- or second-generation immigrants to the United States. Their paintings, illustrations, videos, and sculptures depict their experience of displacement as well as their search for an ever-elusive “home.” Proceeding from a place of fractured citizenship, the artists give definition to the ambiguous territory that exists between there and here. The work might give my friend hope; it suggests that “in-between” can be a place in itself.\u003c/p>\n\u003cp>Juan Carlos Quintana’s paintings use American and Cuban iconography to produce a sense of “ambivalent nostalgia.” Rendering pop-culture images in faded carnival hues — cowboys and clown shoes, Pinnochio, the Tin Woodsman, and Mickey Mouse — Quintana emphasizes the supposedly wholesome icons’ menacing qualities. Mickey’s head is on the woodsman’s body; noses and eyes are erased. The line between monster and cartoon character blurs. \u003cb>Adventures of an Island Boy\u003c/b> depicts a classic cartoon desert island, hammock strung between two palm trees. An oversized figure dwarfs the scene, out of proportion with the pile of sand on which he stands. A Cuban-American, Quintana uses imagery to point to the absurdity of this caricature, revealing the racist and imperialist currents running through American depictions of island locales.\u003c/p>\n\u003cp>Dianna Guerrero’s mixed-media installation, \u003cb>What Niven’s Left Behind\u003c/b>, exposes the compromised conditions in which many immigrants to the United States live and work. The title refers to Niven Nursery, a garden center in Marin County where the artist’s father was employed. A migrant worker, he was exposed to pesticides on the job and died of stomach cancer. Rows and rows of plant markers, three- by one-inch tags that often detail a plant’s optimal conditions, are pressed into a wall of plastic. But the white tags look like hospital bracelets. Intentional or not, the visual allusion references the way workers’ health is routinely sacrificed for plants’ well-being.\u003c/p>\n\u003cp>Born and raised in suburban California, I couldn’t help but identify with David Yun’s \u003cb>A Taste of Home\u003c/b>. The seven-minute video chronicles the artist’s return to his childhood home of Livonia, Michigan, made after his mother becomes terminally ill. Yun’s voice narrates his return to this small, overwhelmingly white, suburban town. When his mother says, “Welcome home,” he replies, “This hasn’t been home in years.” In college on the East Coast, he told people he was from Detroit, even though Livonia is nothing like Detroit. Livonia is just so unpleasant to say, he explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His monologue plays over images of a Midwestern nowhere — American flags blowing beside busy streets, leaves in a parking lot, an open sky gridded with power lines, cars passing on a night highway. Supposed place-markers, the store signs and municipal buildings provide no orientation. We could be anywhere; we could be nowhere. The film ends with a realization of sorts, as Yun speaks to his mother’s memory. “My home is you, me, Michelle, Chris, Dad,” he says. “Now you are gone, I’m homeless.”\u003c/p>\n\u003cp>Yun’s work provides the show’s closest thing to a resolution: home is not composed of geographic coordinates, but of memories and relationships. I would tell this to my friend, the one who lives in San Francisco and searches for jobs in New York, if I thought it would help. He’s already home, I would say, he just doesn’t know it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Insider/Outsider\u003c/b> is on display at Root Division, located at 3175 17th St., San Francisco, through Tuesday, July 29, 2008. For more information, call 415-863-7668.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My friend can’t figure out where he belongs — there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, “Which is home?” Sometimes he sounds desperate, scared that if he doesn’t belong in one place he must not belong anywhere. But I’ve thought about it, and I think he’s wrong. I think we carry the places we’ve been to the places we go, and that we are never merely in one place at a time; we are in many. Geography never contains us.\u003c/p>\n\u003cp>I’ve given him advice on his dilemma, but it doesn’t work. Still, in one last attempt, I told him to visit the current exhibit at Root Division. \u003cb>Insider/Outsider\u003c/b> consists of work by sixteen artists who are first- or second-generation immigrants to the United States. Their paintings, illustrations, videos, and sculptures depict their experience of displacement as well as their search for an ever-elusive “home.” Proceeding from a place of fractured citizenship, the artists give definition to the ambiguous territory that exists between there and here. The work might give my friend hope; it suggests that “in-between” can be a place in itself.\u003c/p>\n\u003cp>Juan Carlos Quintana’s paintings use American and Cuban iconography to produce a sense of “ambivalent nostalgia.” Rendering pop-culture images in faded carnival hues — cowboys and clown shoes, Pinnochio, the Tin Woodsman, and Mickey Mouse — Quintana emphasizes the supposedly wholesome icons’ menacing qualities. Mickey’s head is on the woodsman’s body; noses and eyes are erased. The line between monster and cartoon character blurs. \u003cb>Adventures of an Island Boy\u003c/b> depicts a classic cartoon desert island, hammock strung between two palm trees. An oversized figure dwarfs the scene, out of proportion with the pile of sand on which he stands. A Cuban-American, Quintana uses imagery to point to the absurdity of this caricature, revealing the racist and imperialist currents running through American depictions of island locales.\u003c/p>\n\u003cp>Dianna Guerrero’s mixed-media installation, \u003cb>What Niven’s Left Behind\u003c/b>, exposes the compromised conditions in which many immigrants to the United States live and work. The title refers to Niven Nursery, a garden center in Marin County where the artist’s father was employed. A migrant worker, he was exposed to pesticides on the job and died of stomach cancer. Rows and rows of plant markers, three- by one-inch tags that often detail a plant’s optimal conditions, are pressed into a wall of plastic. But the white tags look like hospital bracelets. Intentional or not, the visual allusion references the way workers’ health is routinely sacrificed for plants’ well-being.\u003c/p>\n\u003cp>Born and raised in suburban California, I couldn’t help but identify with David Yun’s \u003cb>A Taste of Home\u003c/b>. The seven-minute video chronicles the artist’s return to his childhood home of Livonia, Michigan, made after his mother becomes terminally ill. Yun’s voice narrates his return to this small, overwhelmingly white, suburban town. When his mother says, “Welcome home,” he replies, “This hasn’t been home in years.” In college on the East Coast, he told people he was from Detroit, even though Livonia is nothing like Detroit. Livonia is just so unpleasant to say, he explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His monologue plays over images of a Midwestern nowhere — American flags blowing beside busy streets, leaves in a parking lot, an open sky gridded with power lines, cars passing on a night highway. Supposed place-markers, the store signs and municipal buildings provide no orientation. We could be anywhere; we could be nowhere. The film ends with a realization of sorts, as Yun speaks to his mother’s memory. “My home is you, me, Michelle, Chris, Dad,” he says. “Now you are gone, I’m homeless.”\u003c/p>\n\u003cp>Yun’s work provides the show’s closest thing to a resolution: home is not composed of geographic coordinates, but of memories and relationships. I would tell this to my friend, the one who lives in San Francisco and searches for jobs in New York, if I thought it would help. He’s already home, I would say, he just doesn’t know it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Insider/Outsider\u003c/b> is on display at Root Division, located at 3175 17th St., San Francisco, through Tuesday, July 29, 2008. For more information, call 415-863-7668.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. With the help of other glass art masters, the Chihuly factory filled eleven galleries with an incredibly showy collection of sculptures and installations spanning more than thirty years. If you like color and candy, the art might make you salivate.\u003c/p>\n\u003cp>The sculptures are lit with neon and other luminescent elements. Many hold the shape of the usual glass suspects — vessels and flowers — while others are more unusually shaped like sea anemones and speckled balls but are still similar to things you might find in a garden décor catalogue. More breathtaking are the less utilitarian displays. Viewing an installation of tall violet glass stems piercing perfect, horizontal tree trunks felt like standing near a cool river in a petrified futuristic forest. Old rowboats overflowing with deluxe glass candy were like a child’s sugar shock fantasy come true. It would be surprising if the de Young has not yet seen a kid try to lick one of these objets d’art.\u003c/p>\n\u003cp>Speaking of art objects, \u003ca href=\"http://www.sfgate.com/cgibin/article.cgi?f=/c/a/2008/07/05/DD9811I6MN.DTL&type=art\" target=\"offsite\">The Chronicle’s\u003c/a>Kenneth Baker says that is not what Chihuly makes, calling the work “decoration” with a lack of “intellectual content.” Despite the sculptures’ brilliant, glorified rainbow beauty, he says they have no place in a museum. But if a person wakes up one morning and decides he’ll use all three hundred colors in his studio and meticulously does so without repeating the same combination of hues to create a collection of otherworldly bowls, he’s an artist in my mind — not just in his technique but in his undying obsession with color and his persistence in production. Yes, the fact that Chihuly has a team that produces these objects makes me question his artistic integrity. But Richard Serra doesn’t single-handedly shape ten-ton hunks of steel, and Christo and Jean Claude didn’t hang each of the orange fabric flags of \u003ca href=\"http://en.wikipedia.org/wiki/The_Gates\" target=\"offsite\" rel=\"noopener\">The Gates\u003c/a> by themselves either. Sol Lewitt passed away last year, but a team of professional artists is drawing his retrospective right now. Jeff Koons has ninety employees producing his sculptures and paintings, but just like any other profession, the top banana always gets to slap his own label on other people’s efforts.\u003c/p>\n\u003cp>The final installation of \u003cb>Chihuly at the de Young\u003c/b> was just like the grand finale of a fireworks display — every color, shape, and wow-factor is employed, and your mind gets blown. It’s loud, it’s bright, it’s glorious, it’s the end of the show. Now go buy some souvenirs. Though my jury is still out on Chihuly’s place in the art world, this exhibition did make me think. It made my mind race with questions: How much bubble wrap is needed to ship an enormous vase holding a glass Venus flytrap? Is Chihuly a pirate? His eye-patch may be due to a car accident, but his boatloads of glimmering treasure have to make you wonder. It’s actually more likely that Chihuly is a cousin of Willy Wonka and borrows the Oompa Loompas. What would a lickable Chihuly sculpture taste like? How many flavors would his art come in? I was disappointed to find that the gift shop was not selling swirly snozzberry Chihuly lollipops.\u003c/p>\n\u003cp>If you plan to skip this exhibition or wish to ruin the surprise, \u003ca href=\"http://www.flickr.com/photos/8837740@N04/sets/72157606268966079/\" target=\"offsite\" rel=\"noopener\">check out my photos\u003c/a> on Flickr, including one of the outdoor \u003cb>Saffron Tower\u003c/b> of glowing glass spaghetti in the museum’s garden as seen from far away on the \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2686253166/\" target=\"offsite\" rel=\"noopener\">viewpoint\u003c/a> above Sunset Heights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chihuly at the de Young\u003c/b> and other site-specific installations at the Legion of Honor are on view through September 28, 2008. The documentary \u003cb>Chihuly in the Hotshop\u003c/b> will air on KQED HD August 11, 2008 at 9pm and August 17 at noon, and on KQED LIFE (Comcast cable channel 189) August 17 at 7pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. With the help of other glass art masters, the Chihuly factory filled eleven galleries with an incredibly showy collection of sculptures and installations spanning more than thirty years. If you like color and candy, the art might make you salivate.\u003c/p>\n\u003cp>The sculptures are lit with neon and other luminescent elements. Many hold the shape of the usual glass suspects — vessels and flowers — while others are more unusually shaped like sea anemones and speckled balls but are still similar to things you might find in a garden décor catalogue. More breathtaking are the less utilitarian displays. Viewing an installation of tall violet glass stems piercing perfect, horizontal tree trunks felt like standing near a cool river in a petrified futuristic forest. Old rowboats overflowing with deluxe glass candy were like a child’s sugar shock fantasy come true. It would be surprising if the de Young has not yet seen a kid try to lick one of these objets d’art.\u003c/p>\n\u003cp>Speaking of art objects, \u003ca href=\"http://www.sfgate.com/cgibin/article.cgi?f=/c/a/2008/07/05/DD9811I6MN.DTL&type=art\" target=\"offsite\">The Chronicle’s\u003c/a>Kenneth Baker says that is not what Chihuly makes, calling the work “decoration” with a lack of “intellectual content.” Despite the sculptures’ brilliant, glorified rainbow beauty, he says they have no place in a museum. But if a person wakes up one morning and decides he’ll use all three hundred colors in his studio and meticulously does so without repeating the same combination of hues to create a collection of otherworldly bowls, he’s an artist in my mind — not just in his technique but in his undying obsession with color and his persistence in production. Yes, the fact that Chihuly has a team that produces these objects makes me question his artistic integrity. But Richard Serra doesn’t single-handedly shape ten-ton hunks of steel, and Christo and Jean Claude didn’t hang each of the orange fabric flags of \u003ca href=\"http://en.wikipedia.org/wiki/The_Gates\" target=\"offsite\" rel=\"noopener\">The Gates\u003c/a> by themselves either. Sol Lewitt passed away last year, but a team of professional artists is drawing his retrospective right now. Jeff Koons has ninety employees producing his sculptures and paintings, but just like any other profession, the top banana always gets to slap his own label on other people’s efforts.\u003c/p>\n\u003cp>The final installation of \u003cb>Chihuly at the de Young\u003c/b> was just like the grand finale of a fireworks display — every color, shape, and wow-factor is employed, and your mind gets blown. It’s loud, it’s bright, it’s glorious, it’s the end of the show. Now go buy some souvenirs. Though my jury is still out on Chihuly’s place in the art world, this exhibition did make me think. It made my mind race with questions: How much bubble wrap is needed to ship an enormous vase holding a glass Venus flytrap? Is Chihuly a pirate? His eye-patch may be due to a car accident, but his boatloads of glimmering treasure have to make you wonder. It’s actually more likely that Chihuly is a cousin of Willy Wonka and borrows the Oompa Loompas. What would a lickable Chihuly sculpture taste like? How many flavors would his art come in? I was disappointed to find that the gift shop was not selling swirly snozzberry Chihuly lollipops.\u003c/p>\n\u003cp>If you plan to skip this exhibition or wish to ruin the surprise, \u003ca href=\"http://www.flickr.com/photos/8837740@N04/sets/72157606268966079/\" target=\"offsite\" rel=\"noopener\">check out my photos\u003c/a> on Flickr, including one of the outdoor \u003cb>Saffron Tower\u003c/b> of glowing glass spaghetti in the museum’s garden as seen from far away on the \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2686253166/\" target=\"offsite\" rel=\"noopener\">viewpoint\u003c/a> above Sunset Heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Imagine for a moment that you were a polyglot — that you could speak multiple important verbal and visual languages. Signs, symbols, colors, gestures, and images: imagine that you could read the surface of any culture perfectly.\u003c/p>\n\u003cp>It’s Indiana Jones’s superpower, and it’s one we have a great deal of respect for … provided it arises from deliberate study and not naturally from, say, migration or the diversity of your urban neighborhood. This is why connoisseurship of the traditional art of Chinese and Japanese calligraphy — reserved to the educated — is highly respected. This is why, despite years of mingling its aesthetics with those of “high art,” graffiti art, often the province of products of bilingual education, is still underobserved.\u003c/p>\n\u003cp>So suppose that you were an polyglot by nurture AND by study. What kind of art would you make?\u003c/p>\n\u003cp>Yeah, it’s a leading question. Obviously I’m trying to get you into the peculiar, headspace you need to be in to understand ProArts gallery’s glowing exhibition \u003cb>CalliGRAFFitti\u003c/b>, a collaboration between Asian American calligraphy artist Minette Mangahas, and nine graffiti muralists. The connection between the aesthetic of ideogrammatic calligraphy and the tagging-based lettering of graffiti is such an obvious one, it’s astonishing that it’s been made so seldom before, much less to such lovely effect.\u003c/p>\n\u003cp>In a series of experiments, Mangahas and her collaborators (Apex, Coby Kennedy, Zen One, Toons One, Amend, Desi W.O.M.E, Denz One, and Lucha) match materials and canvases to see how harmony and counterpoint influence the effectiveness of each art form. Wooden panels are acrylic and spray-painted. Paper mounted on Chinese scrolls is ink-painted and magic-markered. An installation of cinder-blocks nearly takes flight with its even covering of white and purple lettering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The often remarkable result recalls the source aesthetics of both forms in the expected manner, yet presents an energetic and unpredictably graceful fusion. One enormous scroll features a flight of black characters by Mangahas entangled with red tags by Apex. The aerial perspective created by the differently sized characters makes the piece look like a dogfight between armies of flying fonts.\u003c/p>\n\u003cp>The heavy paint on a set of paper umbrellas and a pair of flattened take-out containers are less successful, underlining the airy and gestural nature of both calligraphy and tagging. This is a collaboration that has its aesthetic limits. But within those borders there’s a nearly unlimited scope for typographic hybridity, and a melding of graph and image.\u003c/p>\n\u003cp>Broadening the theme of idiomatic syncretism are installations by Ken Lo and Ala Ebtekar, both local artists who combine orientalist images from their families’ cultures of origin with the hip hop culture they grew up in. Lo’s macho video fantasies about his legendary pick up game with Kobe Bryant and his reputation among a clutch of passive-aggressive friends are offset by his use of Chinese-style paper cut-outs and cardboard Chinese grille-work. Ebtekar’s series of drawings is a continuous manuscript of dancing text, bordered by a strip of dead warriors wearing the costume and uniforms of different eras of Persian fighting.\u003c/p>\n\u003cp>Taken altogether, the works in this show are an excellent answer to my initial question. The artists present as a many-headed polyglot, pointing out the hybrid and multiethnic nature of hip hop, American hipster culture, and the very pursuit of the artistic leading edge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CalliGRAFFitti\u003c/b> runs through August 15 at ProArts Gallery in Oakland’s Jack London Square.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine for a moment that you were a polyglot — that you could speak multiple important verbal and visual languages. Signs, symbols, colors, gestures, and images: imagine that you could read the surface of any culture perfectly.\u003c/p>\n\u003cp>It’s Indiana Jones’s superpower, and it’s one we have a great deal of respect for … provided it arises from deliberate study and not naturally from, say, migration or the diversity of your urban neighborhood. This is why connoisseurship of the traditional art of Chinese and Japanese calligraphy — reserved to the educated — is highly respected. This is why, despite years of mingling its aesthetics with those of “high art,” graffiti art, often the province of products of bilingual education, is still underobserved.\u003c/p>\n\u003cp>So suppose that you were an polyglot by nurture AND by study. What kind of art would you make?\u003c/p>\n\u003cp>Yeah, it’s a leading question. Obviously I’m trying to get you into the peculiar, headspace you need to be in to understand ProArts gallery’s glowing exhibition \u003cb>CalliGRAFFitti\u003c/b>, a collaboration between Asian American calligraphy artist Minette Mangahas, and nine graffiti muralists. The connection between the aesthetic of ideogrammatic calligraphy and the tagging-based lettering of graffiti is such an obvious one, it’s astonishing that it’s been made so seldom before, much less to such lovely effect.\u003c/p>\n\u003cp>In a series of experiments, Mangahas and her collaborators (Apex, Coby Kennedy, Zen One, Toons One, Amend, Desi W.O.M.E, Denz One, and Lucha) match materials and canvases to see how harmony and counterpoint influence the effectiveness of each art form. Wooden panels are acrylic and spray-painted. Paper mounted on Chinese scrolls is ink-painted and magic-markered. An installation of cinder-blocks nearly takes flight with its even covering of white and purple lettering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The often remarkable result recalls the source aesthetics of both forms in the expected manner, yet presents an energetic and unpredictably graceful fusion. One enormous scroll features a flight of black characters by Mangahas entangled with red tags by Apex. The aerial perspective created by the differently sized characters makes the piece look like a dogfight between armies of flying fonts.\u003c/p>\n\u003cp>The heavy paint on a set of paper umbrellas and a pair of flattened take-out containers are less successful, underlining the airy and gestural nature of both calligraphy and tagging. This is a collaboration that has its aesthetic limits. But within those borders there’s a nearly unlimited scope for typographic hybridity, and a melding of graph and image.\u003c/p>\n\u003cp>Broadening the theme of idiomatic syncretism are installations by Ken Lo and Ala Ebtekar, both local artists who combine orientalist images from their families’ cultures of origin with the hip hop culture they grew up in. Lo’s macho video fantasies about his legendary pick up game with Kobe Bryant and his reputation among a clutch of passive-aggressive friends are offset by his use of Chinese-style paper cut-outs and cardboard Chinese grille-work. Ebtekar’s series of drawings is a continuous manuscript of dancing text, bordered by a strip of dead warriors wearing the costume and uniforms of different eras of Persian fighting.\u003c/p>\n\u003cp>Taken altogether, the works in this show are an excellent answer to my initial question. The artists present as a many-headed polyglot, pointing out the hybrid and multiethnic nature of hip hop, American hipster culture, and the very pursuit of the artistic leading edge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CalliGRAFFitti\u003c/b> runs through August 15 at ProArts Gallery in Oakland’s Jack London Square.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"mindshift": {
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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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"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": {
"id": "reveal",
"title": "Reveal",
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