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"content": "\u003cp>I’ve just returned from New York five pounds lighter, with blisters on every toe and no money. My legs are aching but I couldn’t be happier. On my feet are the coolest sneakers SF has ever seen, and I am the proud owner of \u003cb>Greater New York 2005\u003c/b>, a book I would’ve given my left pinky form that I was able to purchase at half-price directly from its source, \u003ca href=\"http://www.ps1.org/\" target=\"offsite\" rel=\"noopener\">P.S.1\u003c/a>, MOMA’s appendage in Queens. The book is the catalogue of a show I saw during my last trip to New York when I discovered that P.S.1 was my favorite museum. It’s a big abandoned school with worn brick stairwells and classrooms transformed into breezy, wide-open galleries. During my severely abbreviated trip, I saw more art than SF can shake a stick at in less than half a day. I love you, San Francisco, but, to state the obvious, New York has a lot more going on.\u003c/p>\n\u003cp>At P.S.1 I saw overflows from (and additions to) Olafur Eliasson’s \u003ca href=\"http://www.kqed.org/arts/multimedia/index.jsp?id=19821\">Take Your Time\u003c/a> exhibition. Most of the show is on view at MOMA. One addition was a room-filling, rotating ceiling mirror. People were strewn across the floor \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/sizes/l\" target=\"offsite\" rel=\"noopener\">gazing up\u003c/a> and it was quite lovely to find folks relaxing under art on a hot New York day.\u003c/p>\n\u003cp>Next I was off to the Metropolitan Museum of Art to see Jeff Koons on the roof. His three large-scale, candy-colored mirrored stainless steel sculptures stood proudly above the city skyline, as decadent as the drink prices at the nearby rooftop bars. \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304214/sizes/l/\" target=\"offsite\" rel=\"noopener\">Yellow Dog\u003c/a> was a little less impressive than his blue littermate I saw at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\">BCAM\u003c/a> in March, mostly because his shiny finish gets a little tattered with smog and raindrops when displayed outside. Met, you should polish that sucker. He’s probably worth at least 20 million. Fun fact: Last fall Koons broke the record for the most expensive work of contemporary art by a living artist sold at auction: 28 million. Funner fact: Lucian Freud beat him last month with a painting of a sleeping nude woman: 33 million. Koons’s record breaker was a giant shiny red heart hanging from a golden ribbon tied in a bow. One of the sculptures on the roof is similarly red with a gold bow but is more of a wrapped candy heart. It’s exactly what Godzilla would give for Valentine’s Day, fittingly placed within a big lizard’s reach on top of the museum.\u003c/p>\n\u003cp>Along with the heart and dog is a less bulbous sculpture. Like a giant Shrinky-dink, it appears as a child’s haphazardly crayoned cut-out of \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304218/sizes/l\" target=\"offsite\" rel=\"noopener\">Piglet\u003c/a>. Koons designed the image by inking a Winnie the Pooh coloring book page with magic markers, and then eliminating the black outline of Piglet to make the sculpture more abstract. It looked transparent at first glance, but was actually just reflecting the 360 degree view of skyscrapers. These were just a sampling of Koons’s extravagant \u003cb>Celebration\u003c/b> series — one that began fifteen years ago and has involved much innovation from a contracted foundry, and upwards of eleventy million dollars in collector investment. The effort was worth it — my friend suggested we take photos of our reflections in the yellow dog’s shiny balloon butt: \u003ca>priceless\u003c/a>.\u003c/p>\n\u003cp>Also at the Met was a fashion-meets-superhero exhibition. Impeccably crafted costumes worn by celebrities like Christopher Reeve, Tobey McGuire, and Rebecca Romijn, alongside countless couture designs from fashion magnates such as Alexander McQueen, made for a crowd-pleasing show. It’s always nice to stumble upon some costumes and pop culture amongst collections of ancient and renaissance everything. The Met is the easiest place to get lost in. Maybe it’s because I was trying to catch up with my friend and navigate the map at the same time, but it felt like a labyrinth. After triumphantly finding the aforementioned exhibits, we hightailed it down Museum Mile to get to the Whitney Museum of American Art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22942\">Greater New York, Part 2\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve just returned from New York five pounds lighter, with blisters on every toe and no money. My legs are aching but I couldn’t be happier. On my feet are the coolest sneakers SF has ever seen, and I am the proud owner of \u003cb>Greater New York 2005\u003c/b>, a book I would’ve given my left pinky form that I was able to purchase at half-price directly from its source, \u003ca href=\"http://www.ps1.org/\" target=\"offsite\" rel=\"noopener\">P.S.1\u003c/a>, MOMA’s appendage in Queens. The book is the catalogue of a show I saw during my last trip to New York when I discovered that P.S.1 was my favorite museum. It’s a big abandoned school with worn brick stairwells and classrooms transformed into breezy, wide-open galleries. During my severely abbreviated trip, I saw more art than SF can shake a stick at in less than half a day. I love you, San Francisco, but, to state the obvious, New York has a lot more going on.\u003c/p>\n\u003cp>At P.S.1 I saw overflows from (and additions to) Olafur Eliasson’s \u003ca href=\"http://www.kqed.org/arts/multimedia/index.jsp?id=19821\">Take Your Time\u003c/a> exhibition. Most of the show is on view at MOMA. One addition was a room-filling, rotating ceiling mirror. People were strewn across the floor \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304208/sizes/l\" target=\"offsite\" rel=\"noopener\">gazing up\u003c/a> and it was quite lovely to find folks relaxing under art on a hot New York day.\u003c/p>\n\u003cp>Next I was off to the Metropolitan Museum of Art to see Jeff Koons on the roof. His three large-scale, candy-colored mirrored stainless steel sculptures stood proudly above the city skyline, as decadent as the drink prices at the nearby rooftop bars. \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304214/sizes/l/\" target=\"offsite\" rel=\"noopener\">Yellow Dog\u003c/a> was a little less impressive than his blue littermate I saw at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\">BCAM\u003c/a> in March, mostly because his shiny finish gets a little tattered with smog and raindrops when displayed outside. Met, you should polish that sucker. He’s probably worth at least 20 million. Fun fact: Last fall Koons broke the record for the most expensive work of contemporary art by a living artist sold at auction: 28 million. Funner fact: Lucian Freud beat him last month with a painting of a sleeping nude woman: 33 million. Koons’s record breaker was a giant shiny red heart hanging from a golden ribbon tied in a bow. One of the sculptures on the roof is similarly red with a gold bow but is more of a wrapped candy heart. It’s exactly what Godzilla would give for Valentine’s Day, fittingly placed within a big lizard’s reach on top of the museum.\u003c/p>\n\u003cp>Along with the heart and dog is a less bulbous sculpture. Like a giant Shrinky-dink, it appears as a child’s haphazardly crayoned cut-out of \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2553304218/sizes/l\" target=\"offsite\" rel=\"noopener\">Piglet\u003c/a>. Koons designed the image by inking a Winnie the Pooh coloring book page with magic markers, and then eliminating the black outline of Piglet to make the sculpture more abstract. It looked transparent at first glance, but was actually just reflecting the 360 degree view of skyscrapers. These were just a sampling of Koons’s extravagant \u003cb>Celebration\u003c/b> series — one that began fifteen years ago and has involved much innovation from a contracted foundry, and upwards of eleventy million dollars in collector investment. The effort was worth it — my friend suggested we take photos of our reflections in the yellow dog’s shiny balloon butt: \u003ca>priceless\u003c/a>.\u003c/p>\n\u003cp>Also at the Met was a fashion-meets-superhero exhibition. Impeccably crafted costumes worn by celebrities like Christopher Reeve, Tobey McGuire, and Rebecca Romijn, alongside countless couture designs from fashion magnates such as Alexander McQueen, made for a crowd-pleasing show. It’s always nice to stumble upon some costumes and pop culture amongst collections of ancient and renaissance everything. The Met is the easiest place to get lost in. Maybe it’s because I was trying to catch up with my friend and navigate the map at the same time, but it felt like a labyrinth. After triumphantly finding the aforementioned exhibits, we hightailed it down Museum Mile to get to the Whitney Museum of American Art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>She took three years of drawings, held in scholastic white and black speckled notebooks whose empty covers now lean on a gallery shelf. She mulched and recycled the work to create lumpy sheaths of paper. These pieces of paper do not serve as backgrounds to new drawings. Left blank, they are drawings — three years’ worth — stripped of their representational qualities and repurposed as physical material. Blue and black dashes of color show up in the weave of the new paper, the afterlife of crosshatching and shading, three years spent getting a Master of Fine Arts degree at the University of California, Berkeley. Contained in hard cover bindings, this collection by Renee Delores serves as a fitting greeting to \u003cb>These Canyons\u003c/b>, the UC Berkeley MFA graduate exhibition, on view at the Berkeley Art Museum through Sunday, June 8, 2008.\u003c/p>\n\u003cp>As with Delores’s piece, each of the seven artists’ work is an archive of their time spent pursuing their degrees. And as with Delores’s, each body of work needs to be considered slowly, so that the layers of meaning come to the surface of their own accord. The exhibition’s layout is conducive to this sort of viewing. Unlike larger MFA programs, in which many worthwhile artists are necessarily displayed together in too-small spaces, the artists in this one aren’t on top of one another. There’s a message implicit in this floor-plan: take your time, the work needs and deserves it.\u003c/p>\n\u003cp>Indira Martina Moore’s large white canvases remind me of moonscapes. An intricate system of graphite dashes and dots, circles and lines create a gentle network of trails, directions, and off-center compass points. The tension between her attempts at navigating this white expanse and the unintelligibility of the mark-making system is exciting. The canvases are large — 60 by 84 in. — and the pencil lines are etched like skin cells into the white background. It is enough to just look at the canvases. Like windows that let in the sun, I just want to absorb them, not analyze them.\u003c/p>\n\u003cp>Rosalynn Khor’s film, \u003cb>In Your Hawaiian Way\u003c/b>, is a commentary on the commodification of Hawaiian culture, presented in the form of a self-aware documentary of a tropical vacation. We watch Khor at her computer on the mainland, as she researches the Polynesian Cultural Center, clicking on the icon that allows her to chat with a “real Polynesian!” We go to the center itself, located on the island of Oahu; the camera lens positioned as the tourist gaze. From her vantage point as a visitor to the center, Khor films the awkward tour guide, dressed in sarong and flowered shirt, as he paddles a canoe full of tourists, confessing that it’s his first day and he’s still learning how to navigate the boat. “Aloooo-ha,” he greets the passengers exaggeratedly; it feels like parody.\u003c/p>\n\u003cp>My father grew up on Hawaii, and I remember visiting the Polynesian Cultural Center on one of our frequent trips to Oahu. I also remember my father sternly directing our family to make a U-turn shortly after entering the center, handing our still-good tickets to a family of “locals” walking through the parking lot. “It’s a tourist trap, it’s a joke,” he complained to us. Khor’s video successfully captures the theatricality of the Hawaiian tourist experience and the elusiveness of authentic Hawaiian culture, whatever and wherever that may be. Her filmmaking techniques mimic the tour guide’s failed performance of authenticity. Deliberately amateurish, her camerawork never creates a convincing fiction. Both performances have obvious holes that invite the viewer to consider all that has gone on behind the curtain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the center of the gallery, concentric circles of slip, or wet clay, rise from the floor, the imprint of an earlier performance by Adrianne Crane. \u003cb>Wet Slip Angels\u003c/b> involves Crane laying in a wet pool of slip and flapping her arms and legs as you would to make a snow angel. Her playful actions have serious implications, drawing attention to clay’s materiality and tactility, possible reasons for its historical and unfair exclusion from the world of “serious art.” Crane’s artist statement, included in the exhibition brochure, shares another facet of her practice: guerrilla interventions. Crane writes, “The project is similar to street tagging, but made of wet slip imprints left behind on walls and on the ground. The images will disappear with time and weather.”\u003c/p>\n\u003cp>Wenhua Shi’s \u003cb>What’s in your Suitcase?\u003c/b> is a piece of psychogeography, consisting of cardboard structures fashioned to resemble suitcases or chairs. Passing a piece of plastic over each structure unlocks a recorded narrative hidden within each form. Strangers’ voices animate the space, sharing stories of travel and everyday life, reminding us that physical spaces are composed of stories as well as structures.\u003c/p>\n\u003cp>Emily Prince uses a 19th-century viewing machine, the zoopraxiscope, to display altered 20th-century photographs. Although one of the three machines was broken on the day of my visit, the two functioning zoopraxiscopes worked like crude slide projectors. I cranked a handle, and a circle of images rotated before a shining light, creating momentary projections of family memories on the wall. Prince has physically cut the images, erasing backgrounds and surrounding details, preserving only faces and folded arms. Both the images and the obsolete viewing apparatus create a feeling of temporality. Our memories disappear, seemingly before our eyes. And our methods of viewing these memories change as well, just as quickly and unpredictably.\u003c/p>\n\u003cp>I stood a long time before Sunaura Taylor’s 96-by-25-in. \u003cb>Chicken Truck\u003c/b>, the largest of her luminous oil paintings depicting factory farming practices. The work is monumental, its details nuanced and delicate. Broken and twisted metal separates each column of cages; thin wire contains chicken bodies. We see their feathers and their forms press against the cages’ frames. White chickens spill beneath bent wire; other cages are dark except for the red flame of a rooster’s comb. The work juxtaposes the mechanic mentality of factory farming with the animals’ sensual fragility.\u003c/p>\n\u003cp>Taylor’s work reminds me of Danny Keith’s. Keith, a recent graduate of the MFA program at California College of the Arts, makes oil paintings reminiscent of John Singer Sargent’s. He depicts tried and true masculine pastimes — hiking, camping, horsing around. Yet he injects subtly homoerotic overtones into the images. Keith plays with viewers’ expectations of paintings done in this particular style, and calls attention to potentially hidden subtexts in his predecessors’ works (See the \u003ca href=\"http://www.kqed.org/arts/gallerycrawl/episode.jsp?id=22770\">CCA-MFA 2008\u003c/a> episode of \u003cb>Gallery Crawl\u003c/b> for an interview with Keith).\u003c/p>\n\u003cp>Taylor also plays with viewers’ expectations. Her paintings jolt us from our comfort zone as we realize her beautiful images depicts something atrocious and inhumane. We must consider the familiar and limited ways we are comfortable viewing animals in art: usually as innocuous symbols of nature or innocence. Taylor’s work lures us in with its beauty, and forces us to witness the other side of our society’s relationship with animals.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I was charmed by most of the work in \u003cb>These Canyons\u003c/b>. But unlike a mysterious romance whose allure you can’t explain, I know why. Conceptual, the work managed to be both accessible and well executed. I never scratched my head, aware that some esoteric inquiry produced what I saw before me, but baffled as to what that inquiry was. Quite a bit in life is enigmatic enough, and I appreciate art that doesn’t try to be too clever. I want it to give away enough of its secrets that I feel smart, but keep enough to itself that I’m still filled with a little wonder. Because I’ll be honest: I’m tired of being confused.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She took three years of drawings, held in scholastic white and black speckled notebooks whose empty covers now lean on a gallery shelf. She mulched and recycled the work to create lumpy sheaths of paper. These pieces of paper do not serve as backgrounds to new drawings. Left blank, they are drawings — three years’ worth — stripped of their representational qualities and repurposed as physical material. Blue and black dashes of color show up in the weave of the new paper, the afterlife of crosshatching and shading, three years spent getting a Master of Fine Arts degree at the University of California, Berkeley. Contained in hard cover bindings, this collection by Renee Delores serves as a fitting greeting to \u003cb>These Canyons\u003c/b>, the UC Berkeley MFA graduate exhibition, on view at the Berkeley Art Museum through Sunday, June 8, 2008.\u003c/p>\n\u003cp>As with Delores’s piece, each of the seven artists’ work is an archive of their time spent pursuing their degrees. And as with Delores’s, each body of work needs to be considered slowly, so that the layers of meaning come to the surface of their own accord. The exhibition’s layout is conducive to this sort of viewing. Unlike larger MFA programs, in which many worthwhile artists are necessarily displayed together in too-small spaces, the artists in this one aren’t on top of one another. There’s a message implicit in this floor-plan: take your time, the work needs and deserves it.\u003c/p>\n\u003cp>Indira Martina Moore’s large white canvases remind me of moonscapes. An intricate system of graphite dashes and dots, circles and lines create a gentle network of trails, directions, and off-center compass points. The tension between her attempts at navigating this white expanse and the unintelligibility of the mark-making system is exciting. The canvases are large — 60 by 84 in. — and the pencil lines are etched like skin cells into the white background. It is enough to just look at the canvases. Like windows that let in the sun, I just want to absorb them, not analyze them.\u003c/p>\n\u003cp>Rosalynn Khor’s film, \u003cb>In Your Hawaiian Way\u003c/b>, is a commentary on the commodification of Hawaiian culture, presented in the form of a self-aware documentary of a tropical vacation. We watch Khor at her computer on the mainland, as she researches the Polynesian Cultural Center, clicking on the icon that allows her to chat with a “real Polynesian!” We go to the center itself, located on the island of Oahu; the camera lens positioned as the tourist gaze. From her vantage point as a visitor to the center, Khor films the awkward tour guide, dressed in sarong and flowered shirt, as he paddles a canoe full of tourists, confessing that it’s his first day and he’s still learning how to navigate the boat. “Aloooo-ha,” he greets the passengers exaggeratedly; it feels like parody.\u003c/p>\n\u003cp>My father grew up on Hawaii, and I remember visiting the Polynesian Cultural Center on one of our frequent trips to Oahu. I also remember my father sternly directing our family to make a U-turn shortly after entering the center, handing our still-good tickets to a family of “locals” walking through the parking lot. “It’s a tourist trap, it’s a joke,” he complained to us. Khor’s video successfully captures the theatricality of the Hawaiian tourist experience and the elusiveness of authentic Hawaiian culture, whatever and wherever that may be. Her filmmaking techniques mimic the tour guide’s failed performance of authenticity. Deliberately amateurish, her camerawork never creates a convincing fiction. Both performances have obvious holes that invite the viewer to consider all that has gone on behind the curtain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the center of the gallery, concentric circles of slip, or wet clay, rise from the floor, the imprint of an earlier performance by Adrianne Crane. \u003cb>Wet Slip Angels\u003c/b> involves Crane laying in a wet pool of slip and flapping her arms and legs as you would to make a snow angel. Her playful actions have serious implications, drawing attention to clay’s materiality and tactility, possible reasons for its historical and unfair exclusion from the world of “serious art.” Crane’s artist statement, included in the exhibition brochure, shares another facet of her practice: guerrilla interventions. Crane writes, “The project is similar to street tagging, but made of wet slip imprints left behind on walls and on the ground. The images will disappear with time and weather.”\u003c/p>\n\u003cp>Wenhua Shi’s \u003cb>What’s in your Suitcase?\u003c/b> is a piece of psychogeography, consisting of cardboard structures fashioned to resemble suitcases or chairs. Passing a piece of plastic over each structure unlocks a recorded narrative hidden within each form. Strangers’ voices animate the space, sharing stories of travel and everyday life, reminding us that physical spaces are composed of stories as well as structures.\u003c/p>\n\u003cp>Emily Prince uses a 19th-century viewing machine, the zoopraxiscope, to display altered 20th-century photographs. Although one of the three machines was broken on the day of my visit, the two functioning zoopraxiscopes worked like crude slide projectors. I cranked a handle, and a circle of images rotated before a shining light, creating momentary projections of family memories on the wall. Prince has physically cut the images, erasing backgrounds and surrounding details, preserving only faces and folded arms. Both the images and the obsolete viewing apparatus create a feeling of temporality. Our memories disappear, seemingly before our eyes. And our methods of viewing these memories change as well, just as quickly and unpredictably.\u003c/p>\n\u003cp>I stood a long time before Sunaura Taylor’s 96-by-25-in. \u003cb>Chicken Truck\u003c/b>, the largest of her luminous oil paintings depicting factory farming practices. The work is monumental, its details nuanced and delicate. Broken and twisted metal separates each column of cages; thin wire contains chicken bodies. We see their feathers and their forms press against the cages’ frames. White chickens spill beneath bent wire; other cages are dark except for the red flame of a rooster’s comb. The work juxtaposes the mechanic mentality of factory farming with the animals’ sensual fragility.\u003c/p>\n\u003cp>Taylor’s work reminds me of Danny Keith’s. Keith, a recent graduate of the MFA program at California College of the Arts, makes oil paintings reminiscent of John Singer Sargent’s. He depicts tried and true masculine pastimes — hiking, camping, horsing around. Yet he injects subtly homoerotic overtones into the images. Keith plays with viewers’ expectations of paintings done in this particular style, and calls attention to potentially hidden subtexts in his predecessors’ works (See the \u003ca href=\"http://www.kqed.org/arts/gallerycrawl/episode.jsp?id=22770\">CCA-MFA 2008\u003c/a> episode of \u003cb>Gallery Crawl\u003c/b> for an interview with Keith).\u003c/p>\n\u003cp>Taylor also plays with viewers’ expectations. Her paintings jolt us from our comfort zone as we realize her beautiful images depicts something atrocious and inhumane. We must consider the familiar and limited ways we are comfortable viewing animals in art: usually as innocuous symbols of nature or innocence. Taylor’s work lures us in with its beauty, and forces us to witness the other side of our society’s relationship with animals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s kind of like a Martian art gallery. Unidentifiable creatures and unusual forms represent the \u003cb>Mental and Material Realms\u003c/b> of two local artists — \u003ca href=\"http://www.mars-1.com/\" target=\"offsite\" rel=\"noopener\">Mars-1\u003c/a> and \u003ca href=\"http://www.davidchoonglee.com/\" target=\"offsite\" rel=\"noopener\">David Choong Lee\u003c/a> –in their current show at Bucheon Gallery in Hayes Valley. Speaking of Hayes Valley, has anyone seen the new giant rusty ape-alien-man sculpture on The Green? It’s called \u003cb>Koilos\u003c/b> and it’s the work of \u003ca href=\"http://www.burningman.com/\" target=\"offsite\" rel=\"noopener\">Burning Man\u003c/a>artist Michael Christian. It looked especially appropriate with a DJ in its clutches during the latest \u003ca href=\"http://www.capsulesf.com/\" target=\"offsite\" rel=\"noopener\">Capsule\u003c/a> event. Apologies; I digress, and now back to the show…\u003c/p>\n\u003cp>David Choong Lee paints contemporary figures on boxes, all kinds of boxes. Cigar boxes, wooden crates, and shoeboxes installed in grids and clusters on the wall. Tons of them are also stuck together to create an enormous sculptural form in the middle of the gallery that stands at least eight feet tall. Lee practices a kind of street portraiture inspired by the homeless people he befriended when he first moved to SF from Korea. His paintings capture souls and isolate them, creating an intimate connection between subject and viewer. The figures pop against abstract backgrounds, and the paintings continue onto the sides of the boxes, resulting in more popping action.\u003c/p>\n\u003cp>Mars-1 appears to be interested in outer space. He paints otherworldly landscapes that strangely appear accurate. I think he travels throughout the solar system working as a plein air painter of the outdoor environments of aliens. On view for the first time are sculptures of his vinyl toy figures re-imagined in fiberglass and bronze. They could be seen as the love children of Martians and robots. One has a shiny, onyx surface and a little town coming out of its face. Not surprisingly, more of the artist’s work is currently included in the San Jose Museum of Art’s \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22716\" target=\"offsite\" rel=\"noopener\">Robots\u003c/a> show.\u003c/p>\n\u003cp>The artist pairing of Lee and Mars-1 is a pleasant one. They have distinct styles and subject matter, but their work becomes stronger together. They’re different artists, but you could see them working in the same studio, maybe sharing color palettes and stories about mental or material alienation. Did I just figure out the meaning of the show’s title?\u003c/p>\n\u003cp>\u003cb>Mental and Material Realms\u003c/b> runs through June 21, 2008 at Bucheon Gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s kind of like a Martian art gallery. Unidentifiable creatures and unusual forms represent the \u003cb>Mental and Material Realms\u003c/b> of two local artists — \u003ca href=\"http://www.mars-1.com/\" target=\"offsite\" rel=\"noopener\">Mars-1\u003c/a> and \u003ca href=\"http://www.davidchoonglee.com/\" target=\"offsite\" rel=\"noopener\">David Choong Lee\u003c/a> –in their current show at Bucheon Gallery in Hayes Valley. Speaking of Hayes Valley, has anyone seen the new giant rusty ape-alien-man sculpture on The Green? It’s called \u003cb>Koilos\u003c/b> and it’s the work of \u003ca href=\"http://www.burningman.com/\" target=\"offsite\" rel=\"noopener\">Burning Man\u003c/a>artist Michael Christian. It looked especially appropriate with a DJ in its clutches during the latest \u003ca href=\"http://www.capsulesf.com/\" target=\"offsite\" rel=\"noopener\">Capsule\u003c/a> event. Apologies; I digress, and now back to the show…\u003c/p>\n\u003cp>David Choong Lee paints contemporary figures on boxes, all kinds of boxes. Cigar boxes, wooden crates, and shoeboxes installed in grids and clusters on the wall. Tons of them are also stuck together to create an enormous sculptural form in the middle of the gallery that stands at least eight feet tall. Lee practices a kind of street portraiture inspired by the homeless people he befriended when he first moved to SF from Korea. His paintings capture souls and isolate them, creating an intimate connection between subject and viewer. The figures pop against abstract backgrounds, and the paintings continue onto the sides of the boxes, resulting in more popping action.\u003c/p>\n\u003cp>Mars-1 appears to be interested in outer space. He paints otherworldly landscapes that strangely appear accurate. I think he travels throughout the solar system working as a plein air painter of the outdoor environments of aliens. On view for the first time are sculptures of his vinyl toy figures re-imagined in fiberglass and bronze. They could be seen as the love children of Martians and robots. One has a shiny, onyx surface and a little town coming out of its face. Not surprisingly, more of the artist’s work is currently included in the San Jose Museum of Art’s \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22716\" target=\"offsite\" rel=\"noopener\">Robots\u003c/a> show.\u003c/p>\n\u003cp>The artist pairing of Lee and Mars-1 is a pleasant one. They have distinct styles and subject matter, but their work becomes stronger together. They’re different artists, but you could see them working in the same studio, maybe sharing color palettes and stories about mental or material alienation. Did I just figure out the meaning of the show’s title?\u003c/p>\n\u003cp>\u003cb>Mental and Material Realms\u003c/b> runs through June 21, 2008 at Bucheon Gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cool Remixed at the Oakland Museum",
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"content": "\u003cp>Did you know that “cool” is a West African philosophical concept from the 15th century?\u003c/p>\n\u003cp>I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. But a text didactic smacked down my eurocentrism in a few short paragraphs discussing the relationship between the words for “cool” (the temperature) and the concept of \u003ci>ltutu\u003c/i> or detachment. The didactic showed a photograph of a statue whose face demonstrates \u003ci>ltutu\u003c/i>, looking like a jazz musician at rest, and a list of words for “cool” from west African languages that mean both the temperature and the philosophy. I remembered that before the twentieth century the word “cool” in English denoted a lack of humanitarian virtue rather than a virtuous detachment, and a new view of the nature of American hybridity opened up for me.\u003c/p>\n\u003cp>But the whole exhibition put a different complexion (pun intended) on “cool.” \u003cb>Cool Remixed: Bay Area Urban Art + Culture Now\u003c/b>, which opened at the Oakland Museum last weekend, was created as a counterpoint to the traveling show \u003cb>Birth of the Cool: California Art, Design, and Culture At Midcentury\u003c/b>, which originated at the Orange County Museum of Art. \u003cb>Cool Remixed\u003c/b> offers a direct contrast to the traveling exhibit at almost every point: SoCal vs. NorCal; mid-century commercial design vs. millennial community and street art; private houses and interior furnishings vs. public uses, transportation, and murals; middle-aged aesthetics vs. youth culture; suburban vs. urban; lifestyle vs. flavor; minimalist vs. profuse; elite vs. diverse.\u003c/p>\n\u003cp>And this exciting and vibrant exhibition delivers not merely contrast, but context. A visually arresting decade-by-decade timeline of “cool,” and a loop of videos by \u003ca href=\"http://www.youthradio.org/webradio/\" target=\"offsite\" rel=\"noopener\">Youth Radio\u003c/a> remind us that urban communities of color are the vectors of fashion, and that fashions always start with youth and then age radially outward. Without ever directly addressing race, \u003cb>Cool Remixed\u003c/b> finds elements of urban youth culture that originated in different ethnic communities (e.g.: skateboarding and b-boying) and pulls them into the mix. The result is neither muddy melting pot nor multicultural salad, but a hybridity as textured as a graffiti mural.\u003c/p>\n\u003cp>The main gallery is an experimental space for work by young artists using “urban” objects — such as hubcaps, skateboards, car hoods, etc. Although many of the pieces veer into macaroni-crafts territory, explosions of energy, smarts, and sharp aesthetics are sprinkled throughout. One of my favorite pieces in the show was a simple square of wood with a pair of metallic-painted sneakers nailed over a spray-painting of five-pointed stars. The subtle modulation of the spray paint and the arrangement of the stars displayed an aesthetic that was simultaneously do-it-yourself, meditative, and commercially viable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not surprisingly, the strongest work was the outfits, displayed on dressmaker’s dummies, made of clothing and objects. These were conceptual pieces, but they could also easily be worn, clearly suggesting that the makers were already conversant with the idea of pushing fashion forward by recontextualizing the things closest to their bodies: safety pins, tuning pegs, paper and plastic sheeting. The young artists’ selves — as happens with all artists — come through most clearly when they are focusing on their projects and materials rather than on their self-presentation (as in a weak lounge/installation of action photos by the organization EBAYC).\u003c/p>\n\u003cp>Curatorial grace notes bracket the exhibition. A large magnetic poetry set featuring Oakland slang words against a corrugated tin wall welcomes the viewer. The show closes with a wonderful installation breaking down the fragmentation of time and space using bodies and beat sampling. A video of popular Oakland TURF dancers on a street corner is rewound, cut, and looped to create a mobius strip of time and physical performance. Underlining and surrounding the flat monitor are fragmented and collaged photographs of the performers disposed along the street, watching themselves dance.\u003c/p>\n\u003cp>This last image of immensely talented youth shining their lights on street corners — and watching themselves do it — is the best metaphor for \u003cb>Cool Remixed\u003c/b>. Never think that they don’t know exactly what they’re doing. Never pretend that the cool is appropriated from a blind source. Never imagine that any corner of our shared culture, be it ever so tribal or athletic or exotic, is anything but the highest of art, sometimes made by the lowest of artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.museumca.org/exhibit/exhi_cool_remix.html\" target=\"offsite\" rel=\"noopener\">Cool Remixed\u003c/a> runs at the Oakland Museum through August 17, 2008. The museum presents a youth arts festival related to the show on Saturday, May 31 from noon to 9 pm. Curators Evelyn Orantes and Christine Lashaw offer tours at First Fridays After Five on Friday, August 1, from 5 to 9 pm.\u003c/p>\n\n",
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"excerpt": "Did you know that \"cool\" is a West African philosophical concept from the 15th century? I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you know that “cool” is a West African philosophical concept from the 15th century?\u003c/p>\n\u003cp>I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. But a text didactic smacked down my eurocentrism in a few short paragraphs discussing the relationship between the words for “cool” (the temperature) and the concept of \u003ci>ltutu\u003c/i> or detachment. The didactic showed a photograph of a statue whose face demonstrates \u003ci>ltutu\u003c/i>, looking like a jazz musician at rest, and a list of words for “cool” from west African languages that mean both the temperature and the philosophy. I remembered that before the twentieth century the word “cool” in English denoted a lack of humanitarian virtue rather than a virtuous detachment, and a new view of the nature of American hybridity opened up for me.\u003c/p>\n\u003cp>But the whole exhibition put a different complexion (pun intended) on “cool.” \u003cb>Cool Remixed: Bay Area Urban Art + Culture Now\u003c/b>, which opened at the Oakland Museum last weekend, was created as a counterpoint to the traveling show \u003cb>Birth of the Cool: California Art, Design, and Culture At Midcentury\u003c/b>, which originated at the Orange County Museum of Art. \u003cb>Cool Remixed\u003c/b> offers a direct contrast to the traveling exhibit at almost every point: SoCal vs. NorCal; mid-century commercial design vs. millennial community and street art; private houses and interior furnishings vs. public uses, transportation, and murals; middle-aged aesthetics vs. youth culture; suburban vs. urban; lifestyle vs. flavor; minimalist vs. profuse; elite vs. diverse.\u003c/p>\n\u003cp>And this exciting and vibrant exhibition delivers not merely contrast, but context. A visually arresting decade-by-decade timeline of “cool,” and a loop of videos by \u003ca href=\"http://www.youthradio.org/webradio/\" target=\"offsite\" rel=\"noopener\">Youth Radio\u003c/a> remind us that urban communities of color are the vectors of fashion, and that fashions always start with youth and then age radially outward. Without ever directly addressing race, \u003cb>Cool Remixed\u003c/b> finds elements of urban youth culture that originated in different ethnic communities (e.g.: skateboarding and b-boying) and pulls them into the mix. The result is neither muddy melting pot nor multicultural salad, but a hybridity as textured as a graffiti mural.\u003c/p>\n\u003cp>The main gallery is an experimental space for work by young artists using “urban” objects — such as hubcaps, skateboards, car hoods, etc. Although many of the pieces veer into macaroni-crafts territory, explosions of energy, smarts, and sharp aesthetics are sprinkled throughout. One of my favorite pieces in the show was a simple square of wood with a pair of metallic-painted sneakers nailed over a spray-painting of five-pointed stars. The subtle modulation of the spray paint and the arrangement of the stars displayed an aesthetic that was simultaneously do-it-yourself, meditative, and commercially viable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not surprisingly, the strongest work was the outfits, displayed on dressmaker’s dummies, made of clothing and objects. These were conceptual pieces, but they could also easily be worn, clearly suggesting that the makers were already conversant with the idea of pushing fashion forward by recontextualizing the things closest to their bodies: safety pins, tuning pegs, paper and plastic sheeting. The young artists’ selves — as happens with all artists — come through most clearly when they are focusing on their projects and materials rather than on their self-presentation (as in a weak lounge/installation of action photos by the organization EBAYC).\u003c/p>\n\u003cp>Curatorial grace notes bracket the exhibition. A large magnetic poetry set featuring Oakland slang words against a corrugated tin wall welcomes the viewer. The show closes with a wonderful installation breaking down the fragmentation of time and space using bodies and beat sampling. A video of popular Oakland TURF dancers on a street corner is rewound, cut, and looped to create a mobius strip of time and physical performance. Underlining and surrounding the flat monitor are fragmented and collaged photographs of the performers disposed along the street, watching themselves dance.\u003c/p>\n\u003cp>This last image of immensely talented youth shining their lights on street corners — and watching themselves do it — is the best metaphor for \u003cb>Cool Remixed\u003c/b>. Never think that they don’t know exactly what they’re doing. Never pretend that the cool is appropriated from a blind source. Never imagine that any corner of our shared culture, be it ever so tribal or athletic or exotic, is anything but the highest of art, sometimes made by the lowest of artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.museumca.org/exhibit/exhi_cool_remix.html\" target=\"offsite\" rel=\"noopener\">Cool Remixed\u003c/a> runs at the Oakland Museum through August 17, 2008. The museum presents a youth arts festival related to the show on Saturday, May 31 from noon to 9 pm. Curators Evelyn Orantes and Christine Lashaw offer tours at First Fridays After Five on Friday, August 1, from 5 to 9 pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few months ago, I visited the SFMOMA to see the Lee Friedlander retrospective. On impulse, I wandered into the architecture and design gallery, where I encountered \u003ca href=\"http://www.peterwegner.com\" target=\"offsite\" rel=\"noopener\">Peter Wegner’s\u003c/a> \u003cb>Guillotine of Sunshine, Guillotine of Shade\u003c/b>. Imagine an expansive wall, covered in hyper-saturated color. The wall shimmers and undulates, a mirage, but with more heft, more body. Turn the corner, and the wall continues — only the cool, Mediterranean colors have suddenly turned hot, and the deep blues and rich turquoises are now hot pink and acid yellow. Shade and sun. Sun and shade. I liked the piece so much, I decided to play “10 Questions” with the artist.\u003c/p>\n\u003cp>1. Let’s start with the idea of using stacked paper. When did you first begin creating pieces using stacked paper? Why?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> In 2004 I exhibited \u003cb>Floor-to-Ceiling Blues\u003c/b> and \u003cb>Wall-to-Wall Reds\u003c/b> at The Bohen Foundation in New York. They were simple stacked pieces, just a few colors each, spanning the architectural planes of the exhibition space. Later that year I made a stacked paper sculpture that was itself a wall dividing the space of Henry’s (Urbach, SFMoMA’s curator of architecture and design) gallery in Chelsea. By the following year, this body of work had grown to include a labyrinth of stacked paper walls that split the difference between a garden maze and the maze of Manhattan. \u003cb>Lever Labyrinth\u003c/b>, occupied the glass lobby of Lever House on Park Avenue all summer.\u003c/p>\n\u003cp>As to why: I’d been working with color for many years. In the ’90s, this took the form of paintings derived from paint chips. I had stacks and stacks of paint chips lying around the studio. And I’m sure it also had something to do with the Color Aid paper used in Josef Albers’ famous “Color” course I took as a Yale undergraduate. But these are just conventional explanations. Reasons are something else. I’m not even sure they make themselves consciously available to us. They’re fugitives, rarely seen.\u003c/p>\n\u003cp>2. When Henry approached you for \u003cb>Cut\u003c/b>, what drew you to the project? Did you see the other pieces in \u003cb>Cut\u003c/b> before you began your piece?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Great exhibition concept. Great exhibition title. Henry is that rare curator who combines great intellect and great intuition. So he feels comfortable taking on an unusual degree of risk. Early on, he showed me some of the pieces eventually included in the show, but I had already figured out what I wanted to contribute. Or at least where I wanted to begin.\u003c/p>\n\u003cp>3. Let’s talk a little about your use of color. Again, what came first? Did you want to do a piece using the spectrum, or was there something else, some other trigger?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Because color is contextual, you can create a rich palette simply by varying the rhythm of a few different colors — six sheets of this color, ten of that. That’s how I’d worked in the past. People would tell me the piece had nineteen colors, or eleven, or thirty, and they were all correct.\u003c/p>\n\u003cp>This new work is not a full spectrum because that would be impossible to embody in material form. But it’s one representation of a spectrum. I’m often drawn to systems that are in some sense encyclopedic, systems that purport to deal with all of something. That impulse is irresistible and futile in equal measure.\u003c/p>\n\u003cp>In \u003cb>Guillotine\u003c/b>, I was interested in using some of the same yellows on both sides of the wall, then bending that color until it becomes something else ? blue, say, or red. The way Coltrane bends a note, the way Ashbery bends a word. It’s a chromatic continuum interrupted by the wall.\u003c/p>\n\u003cp>4. \u003cb>Guillotine\u003c/b> reminds me a little bit of a “technocratic” Seurat. It’s very sensual. Henry described it as a visceral piece. \u003cb>Guillotine\u003c/b> is certainly a very aesthetic piece, almost painterly. Do you seek that aesthetic impact?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I want to make work that’s both fast and slow, monumental and ephemeral, simple and complex. I want it lush and I want it austere! I want it to be painting and sculpture and architecture! I want it to be tactile even if the guards won’t let you touch it!\u003c/p>\n\u003cp>5. The “how” part always fascinates readers. So… how did you make the piece? Did you do it alone? Or did you have help? What is your process? Where did you find all that paper?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> The paper is from many different companies in the U.S. and Canada. I began by making a small-scale maquette, working with color quickly and intuitively. Then I had to break it down, count it out and scale it up, up, up. The installation itself was a massive undertaking that eventually came to involve forty people from the museum, with a core group of ten working twelve consecutive days. On the weekend, even my teenaged sons pitched in. Everybody helped — curators, conservators, administrators, interns, professional installers. People in different departments would hear about the project and come lend a hand.\u003c/p>\n\u003cp>Everyone would work on the same row at the same time. People would bring me prescribed sequences of color roughly mixed. I did the final mix to impose a loose uniformity before it was installed. But part of the poetry of the piece, I think, is that it still contains traces of the signature efforts of so many.\u003c/p>\n\u003cp>6. Tell me a little about the title of the piece. I’ve heard all sorts of speculation, but most people describe it as “poetic.”\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> “Guillotine of Sunlight, Guillotine of Shade” is a phrase borrowed from a poem by Charles Wright. One day while I was making the maquette, I pulled his collection, \u003cb>Negative Blue\u003c/b>, from my bookshelf to read over lunch. \u003cb>Guillotine\u003c/b> seemed like a good name for a work made of 1.4 million sheets of cut paper, each a little blade, for a show called \u003cb>Cut\u003c/b>. And just as Wright’s phrase describes two sides of the same blade, my piece occupies two sides of the same wall. “Sunlight” and “shade” are also close to the inspiration for the project: light, especially natural light, is a long-standing obsession. (It’s why I had to move back to California after a long exile in Brooklyn.) Natural light is what makes seeing possible. Also us: it makes us possible.\u003c/p>\n\u003cp>7. I just have to ask — Do you like T.J. Clark’s writing?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I’ve never read him. But when I googled him just now, the ad that appeared on the right column said “I quit TJ Clark. Now I make $30k a month.” So maybe I should read him in order to stop and make some cash.\u003c/p>\n\u003cp>8. OK, let’s backtrack now and talk about your biography. When did you decide that you had to be an artist?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I grew up in South Dakota. You couldn’t be an artist in South Dakota. And yet that’s who I am. You just catch up with yourself, and that’s who you turn out to be. Several years ago I wrote a book called \u003cb>The Other Today\u003c/b> that included this line: “It’s the other way things couldn’t go.” In that case, I was referring to the art, but it’s also a good description of the artist.\u003c/p>\n\u003cp>9. First piece of art work that made an impact on you?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I recently visited the Jasper Johns exhibition, \u003cb>Gray\u003c/b>, at the Met and had a vivid memory of seeing one of his gray number paintings when I was fourteen. It stopped me in my tracks. I didn’t know what to make of it, but I couldn’t stop thinking about it. I still don’t know, and I still can’t get it out of my mind. That same year I saw a show of large abstract paintings at the Boston Museum. The scale, the color — I remember feeling that this was a language I spoke.\u003c/p>\n\u003cp>10. What are you working on now?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> \u003cb>The United States of Nothing\u003c/b>, a work in wall paint and neon. It will be on display at SFMoMA beginning in September, 2008. It’s about the act of naming, the desolation of the American landscape, redundancy, cartography, boosterism, bad luck, the void, and what happens when you put a spark of electrical current through invisible gas.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Great exhibition concept. Great exhibition title. Henry is that rare curator who combines great intellect and great intuition. So he feels comfortable taking on an unusual degree of risk. Early on, he showed me some of the pieces eventually included in the show, but I had already figured out what I wanted to contribute. Or at least where I wanted to begin.\u003c/p>\n\u003cp>3. Let’s talk a little about your use of color. Again, what came first? Did you want to do a piece using the spectrum, or was there something else, some other trigger?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Because color is contextual, you can create a rich palette simply by varying the rhythm of a few different colors — six sheets of this color, ten of that. That’s how I’d worked in the past. People would tell me the piece had nineteen colors, or eleven, or thirty, and they were all correct.\u003c/p>\n\u003cp>This new work is not a full spectrum because that would be impossible to embody in material form. But it’s one representation of a spectrum. I’m often drawn to systems that are in some sense encyclopedic, systems that purport to deal with all of something. That impulse is irresistible and futile in equal measure.\u003c/p>\n\u003cp>In \u003cb>Guillotine\u003c/b>, I was interested in using some of the same yellows on both sides of the wall, then bending that color until it becomes something else ? blue, say, or red. The way Coltrane bends a note, the way Ashbery bends a word. It’s a chromatic continuum interrupted by the wall.\u003c/p>\n\u003cp>4. \u003cb>Guillotine\u003c/b> reminds me a little bit of a “technocratic” Seurat. It’s very sensual. Henry described it as a visceral piece. \u003cb>Guillotine\u003c/b> is certainly a very aesthetic piece, almost painterly. Do you seek that aesthetic impact?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I want to make work that’s both fast and slow, monumental and ephemeral, simple and complex. I want it lush and I want it austere! I want it to be painting and sculpture and architecture! I want it to be tactile even if the guards won’t let you touch it!\u003c/p>\n\u003cp>5. The “how” part always fascinates readers. So… how did you make the piece? Did you do it alone? Or did you have help? What is your process? Where did you find all that paper?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> The paper is from many different companies in the U.S. and Canada. I began by making a small-scale maquette, working with color quickly and intuitively. Then I had to break it down, count it out and scale it up, up, up. The installation itself was a massive undertaking that eventually came to involve forty people from the museum, with a core group of ten working twelve consecutive days. On the weekend, even my teenaged sons pitched in. Everybody helped — curators, conservators, administrators, interns, professional installers. People in different departments would hear about the project and come lend a hand.\u003c/p>\n\u003cp>Everyone would work on the same row at the same time. People would bring me prescribed sequences of color roughly mixed. I did the final mix to impose a loose uniformity before it was installed. But part of the poetry of the piece, I think, is that it still contains traces of the signature efforts of so many.\u003c/p>\n\u003cp>6. Tell me a little about the title of the piece. I’ve heard all sorts of speculation, but most people describe it as “poetic.”\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> “Guillotine of Sunlight, Guillotine of Shade” is a phrase borrowed from a poem by Charles Wright. One day while I was making the maquette, I pulled his collection, \u003cb>Negative Blue\u003c/b>, from my bookshelf to read over lunch. \u003cb>Guillotine\u003c/b> seemed like a good name for a work made of 1.4 million sheets of cut paper, each a little blade, for a show called \u003cb>Cut\u003c/b>. And just as Wright’s phrase describes two sides of the same blade, my piece occupies two sides of the same wall. “Sunlight” and “shade” are also close to the inspiration for the project: light, especially natural light, is a long-standing obsession. (It’s why I had to move back to California after a long exile in Brooklyn.) Natural light is what makes seeing possible. Also us: it makes us possible.\u003c/p>\n\u003cp>7. I just have to ask — Do you like T.J. Clark’s writing?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I’ve never read him. But when I googled him just now, the ad that appeared on the right column said “I quit TJ Clark. Now I make $30k a month.” So maybe I should read him in order to stop and make some cash.\u003c/p>\n\u003cp>8. OK, let’s backtrack now and talk about your biography. When did you decide that you had to be an artist?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I grew up in South Dakota. You couldn’t be an artist in South Dakota. And yet that’s who I am. You just catch up with yourself, and that’s who you turn out to be. Several years ago I wrote a book called \u003cb>The Other Today\u003c/b> that included this line: “It’s the other way things couldn’t go.” In that case, I was referring to the art, but it’s also a good description of the artist.\u003c/p>\n\u003cp>9. First piece of art work that made an impact on you?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I recently visited the Jasper Johns exhibition, \u003cb>Gray\u003c/b>, at the Met and had a vivid memory of seeing one of his gray number paintings when I was fourteen. It stopped me in my tracks. I didn’t know what to make of it, but I couldn’t stop thinking about it. I still don’t know, and I still can’t get it out of my mind. That same year I saw a show of large abstract paintings at the Boston Museum. The scale, the color — I remember feeling that this was a language I spoke.\u003c/p>\n\u003cp>10. What are you working on now?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> \u003cb>The United States of Nothing\u003c/b>, a work in wall paint and neon. It will be on display at SFMoMA beginning in September, 2008. It’s about the act of naming, the desolation of the American landscape, redundancy, cartography, boosterism, bad luck, the void, and what happens when you put a spark of electrical current through invisible gas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It started as a ‘zine — a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It’s got a gross name, but it can be a family place.\u003c/p>\n\u003cp>The current show is not, at first glance, a drop-dead crazy amazing exhibit. It’s a tidy display of twenty 2- and 4-color prints created by Austin, TX, artist, Michael \u003ca href=\"http://www.msieben.com/\" target=\"offsite\" rel=\"noopener\">Michael Sieben\u003c/a>, and Nat Swope of \u003ca href=\"http://www.bloompress.com/\" target=\"offsite\" rel=\"noopener\">Bloom Press\u003c/a> in Oakland. What is truly amazing about the show is that it stands for accessibility — art is not just for elite, fiscally frivolous collectors. In an \u003ca href=\"http://www.youtube.com/watch?v=25MLo8i9kU4&eurl=http://www.fecalface.com/gallery/sieben.html%20/\" target=\"offsite\" rel=\"noopener\">interview on YouTube\u003c/a>, Swope and Sieben said they wanted to show — through their ongoing collaboration \u003cb>Forever and Never\u003c/b> — how easy it can be to make and buy art: limited edition, hand-printed pieces with substance made by artists who might also design board graphics for a living and have skate ramps in their backyards.\u003c/p>\n\u003cp>Sieben’s signature characters are ruddy and lovable and were the subject of a super cute music video for the band \u003ca href=\"http://www.vimeo.com/910112/\" target=\"offsite\" rel=\"noopener\">((sounder))\u003c/a>. Thanks to Fecal Face Dot Com, I’ve been following Sieben’s work online for a little while and I relate to the weariness that I see in his subjects. They have globular heads and extra long arms and arrows in their backs, illustrating how you might feel after a long, treacherous week of working (or partying). Speaking of partying, FFDG is clean and professional — there is nothing behind the counter but a laptop, a sink, and a keg.\u003c/p>\n\u003cp>There’s a new show every other week at Fecal Face Dot Gallery in May, so go there soon. Or, don’t. Be all judgmental about the poop moniker now, but you’ll go there eventually. At the very least, \u003ca href=\"http://www.fecalface.com/gallery/sieben.html/\" target=\"offsite\" rel=\"noopener\">buy a print online\u003c/a> for thirty dollars. Made in limited editions of 45, they have lovely sentiments. “Hug yourself,” according to my interpretation, or “Keep the dream alive.” “Learn from your mistakes, be they alcohol or skateboard-related.”\u003c/p>\n\u003cp>So, whatever, the \u003ca>San Francisco Chronicle\u003c/a> scooped me. I was just waiting for the right show. To learn more about emerging local and international artistic talent, John Trippe’s sailboat, interesting art-related photos/videos/Web sites/things to check out, art news, and Trippe’s cat named Poo, visit \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">fecal face dot com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up at the gallery: Alexis MacKenzie and Jessica Cusik’s show opening May 17th and Tara Foley’s show opening June 6.\u003c/p>\n\n",
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"excerpt": "It started as a 'zine -- a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It's got a gross name, but it can be a family place. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started as a ‘zine — a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It’s got a gross name, but it can be a family place.\u003c/p>\n\u003cp>The current show is not, at first glance, a drop-dead crazy amazing exhibit. It’s a tidy display of twenty 2- and 4-color prints created by Austin, TX, artist, Michael \u003ca href=\"http://www.msieben.com/\" target=\"offsite\" rel=\"noopener\">Michael Sieben\u003c/a>, and Nat Swope of \u003ca href=\"http://www.bloompress.com/\" target=\"offsite\" rel=\"noopener\">Bloom Press\u003c/a> in Oakland. What is truly amazing about the show is that it stands for accessibility — art is not just for elite, fiscally frivolous collectors. In an \u003ca href=\"http://www.youtube.com/watch?v=25MLo8i9kU4&eurl=http://www.fecalface.com/gallery/sieben.html%20/\" target=\"offsite\" rel=\"noopener\">interview on YouTube\u003c/a>, Swope and Sieben said they wanted to show — through their ongoing collaboration \u003cb>Forever and Never\u003c/b> — how easy it can be to make and buy art: limited edition, hand-printed pieces with substance made by artists who might also design board graphics for a living and have skate ramps in their backyards.\u003c/p>\n\u003cp>Sieben’s signature characters are ruddy and lovable and were the subject of a super cute music video for the band \u003ca href=\"http://www.vimeo.com/910112/\" target=\"offsite\" rel=\"noopener\">((sounder))\u003c/a>. Thanks to Fecal Face Dot Com, I’ve been following Sieben’s work online for a little while and I relate to the weariness that I see in his subjects. They have globular heads and extra long arms and arrows in their backs, illustrating how you might feel after a long, treacherous week of working (or partying). Speaking of partying, FFDG is clean and professional — there is nothing behind the counter but a laptop, a sink, and a keg.\u003c/p>\n\u003cp>There’s a new show every other week at Fecal Face Dot Gallery in May, so go there soon. Or, don’t. Be all judgmental about the poop moniker now, but you’ll go there eventually. At the very least, \u003ca href=\"http://www.fecalface.com/gallery/sieben.html/\" target=\"offsite\" rel=\"noopener\">buy a print online\u003c/a> for thirty dollars. Made in limited editions of 45, they have lovely sentiments. “Hug yourself,” according to my interpretation, or “Keep the dream alive.” “Learn from your mistakes, be they alcohol or skateboard-related.”\u003c/p>\n\u003cp>So, whatever, the \u003ca>San Francisco Chronicle\u003c/a> scooped me. I was just waiting for the right show. To learn more about emerging local and international artistic talent, John Trippe’s sailboat, interesting art-related photos/videos/Web sites/things to check out, art news, and Trippe’s cat named Poo, visit \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">fecal face dot com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gale Antokal: No Vanishing Point",
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"content": "\u003cp>On the occasion of Gale Antokal’s fourth solo exhibition at \u003ca href=\"http://www.patriciasweetowgallery.com\" target=\"offsite\" rel=\"noopener\">Patricia Sweetow Gallery\u003c/a>, Timothy Buckwalter asked the artist a few questions on how viewers should look at \u003ca href=\"http://www.galeantokal.com/work/2008/\" target=\"offsite\" rel=\"noopener\"> her current work\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Timothy Buckwalter\u003c/b>: In the last decade your drawings have changed — the orbs, spheres and glassware you were drawing the ’90s were very precise, the images very specific. Not that you’re a photorealist, but your intention seemed to be a kind of elegant appraisal of certain objects.\u003c/p>\n\u003cp>More recently your drawings (pastel on paper) have become hazier and more ambiguous… and you seem to be using photos as a source now, instead of the actual object.\u003c/p>\n\u003cp>\u003cb>Gale Antokal\u003c/b>: Actually, the objects from the ’90s were all photo based. I took hundreds of photos in different light sources, and in those days, pre-Photoshop, I would have the 35mm rolls developed, and each time, alter the color temperature and contrast. I needed the photography to give the drawing a foundation on which to reestablish an elusive power — an intensified subject matter in the foreground, a heightened realism, yet there was actually a subtle, complex layer of secrets in the relationships and qualities of the forms being described in pastel.\u003c/p>\n\u003cp>The photos I use are now considered for their degradation and inability to be read. I enhance them making the image even more low contrast. There is a vagueness of vision and clarity. It describes a “failure of sight” on many levels. It also speaks of how the past is obscured.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Well, certainly by removing the figure the audience must form a new relationship with your drawings, since figures are generally the keys that people use to open the door of a painting or drawing (your new pieces feature only clouds or trees).\u003c/p>\n\u003cp>But I wonder after so many years of creating figurative work are your new pieces the beginning of a journey into the abstract?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: Yes.\u003c/p>\n\u003cp>As it began, objects started to translate into thoughts and depictions of lost, or abandoned or unclaimed possessions. Then, I looked at the nature of weight and gravity. I started thinking about what we leave behind to prove we have existed at all.\u003c/p>\n\u003cp>The carvings left by ice skates or sleds, or footprints in the snow.\u003c/p>\n\u003cp>I am thinking more about what is left when everything is taken away. These places have a primordial quality, even though the photo sources are very mundane and the locations are very personal. There is more absence of life (whether it is birds (the flying ash), or figures (the walking dust).\u003c/p>\n\u003cp>I also like thinking about the fact that usually a sense of “place” is perceived when there are two descriptors. An “above” and a “below” and the relation between the two. Usually the consequent edge is a horizon.\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Clouds and trees, at this point in our history, are pretty clichéd. How is the viewer going to separate your chalk drawings from say a nature calendar (which features nature sans traces of man) or drawings on the sidewalk of Venice beach (which are about the beauty of the material)? Is there some clue that you provide to help your audience enter a different emotional viewing platform? Or are they to take it at face value, and the informed can place your work outside of those parameters by simply knowing the history of your intentions?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: In the larger sky and forest drawing, the colors are not the accessible or predictable colors of the venues you describe. I’d say the dark indigo and purple colors look more like bruises. The one forest that is pale gray and white, to me, “sounds” like the moment a shot is being fired.\u003c/p>\n\u003cp>Have you ever been close to shelling? I have. There is an instant, when you go white-blind before the sound hits.\u003c/p>\n\u003cp>The small treetop pieces (not displayed in the gallery show, but on my site) I might read as black smoke.\u003c/p>\n\u003cp>The photo sources for the large purple cloud were shot while I was driving, precariously, with my camera in one hand through a windshield, and my other hand on the steering wheel. You can therefore understand why I had no idea what was above or below at the time. I was totally disoriented.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gale Antokal’s \u003cb>No Vanishing Point\u003c/b> is on view at Patricia Sweetow Gallery through June 14, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the occasion of Gale Antokal’s fourth solo exhibition at \u003ca href=\"http://www.patriciasweetowgallery.com\" target=\"offsite\" rel=\"noopener\">Patricia Sweetow Gallery\u003c/a>, Timothy Buckwalter asked the artist a few questions on how viewers should look at \u003ca href=\"http://www.galeantokal.com/work/2008/\" target=\"offsite\" rel=\"noopener\"> her current work\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Timothy Buckwalter\u003c/b>: In the last decade your drawings have changed — the orbs, spheres and glassware you were drawing the ’90s were very precise, the images very specific. Not that you’re a photorealist, but your intention seemed to be a kind of elegant appraisal of certain objects.\u003c/p>\n\u003cp>More recently your drawings (pastel on paper) have become hazier and more ambiguous… and you seem to be using photos as a source now, instead of the actual object.\u003c/p>\n\u003cp>\u003cb>Gale Antokal\u003c/b>: Actually, the objects from the ’90s were all photo based. I took hundreds of photos in different light sources, and in those days, pre-Photoshop, I would have the 35mm rolls developed, and each time, alter the color temperature and contrast. I needed the photography to give the drawing a foundation on which to reestablish an elusive power — an intensified subject matter in the foreground, a heightened realism, yet there was actually a subtle, complex layer of secrets in the relationships and qualities of the forms being described in pastel.\u003c/p>\n\u003cp>The photos I use are now considered for their degradation and inability to be read. I enhance them making the image even more low contrast. There is a vagueness of vision and clarity. It describes a “failure of sight” on many levels. It also speaks of how the past is obscured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Well, certainly by removing the figure the audience must form a new relationship with your drawings, since figures are generally the keys that people use to open the door of a painting or drawing (your new pieces feature only clouds or trees).\u003c/p>\n\u003cp>But I wonder after so many years of creating figurative work are your new pieces the beginning of a journey into the abstract?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: Yes.\u003c/p>\n\u003cp>As it began, objects started to translate into thoughts and depictions of lost, or abandoned or unclaimed possessions. Then, I looked at the nature of weight and gravity. I started thinking about what we leave behind to prove we have existed at all.\u003c/p>\n\u003cp>The carvings left by ice skates or sleds, or footprints in the snow.\u003c/p>\n\u003cp>I am thinking more about what is left when everything is taken away. These places have a primordial quality, even though the photo sources are very mundane and the locations are very personal. There is more absence of life (whether it is birds (the flying ash), or figures (the walking dust).\u003c/p>\n\u003cp>I also like thinking about the fact that usually a sense of “place” is perceived when there are two descriptors. An “above” and a “below” and the relation between the two. Usually the consequent edge is a horizon.\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Clouds and trees, at this point in our history, are pretty clichéd. How is the viewer going to separate your chalk drawings from say a nature calendar (which features nature sans traces of man) or drawings on the sidewalk of Venice beach (which are about the beauty of the material)? Is there some clue that you provide to help your audience enter a different emotional viewing platform? Or are they to take it at face value, and the informed can place your work outside of those parameters by simply knowing the history of your intentions?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: In the larger sky and forest drawing, the colors are not the accessible or predictable colors of the venues you describe. I’d say the dark indigo and purple colors look more like bruises. The one forest that is pale gray and white, to me, “sounds” like the moment a shot is being fired.\u003c/p>\n\u003cp>Have you ever been close to shelling? I have. There is an instant, when you go white-blind before the sound hits.\u003c/p>\n\u003cp>The small treetop pieces (not displayed in the gallery show, but on my site) I might read as black smoke.\u003c/p>\n\u003cp>The photo sources for the large purple cloud were shot while I was driving, precariously, with my camera in one hand through a windshield, and my other hand on the steering wheel. You can therefore understand why I had no idea what was above or below at the time. I was totally disoriented.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gale Antokal’s \u003cb>No Vanishing Point\u003c/b> is on view at Patricia Sweetow Gallery through June 14, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nostalgia is the prevailing sentiment in \u003cb>Robots: Evolution of a Cultural Icon\u003c/b>, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction’s golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. These are the robots of our futuristic daydreams from days gone by, the machines that would one day deliver us from empty lives of domestic drudgery and toil — that is, if they didn’t zap us to death first with fire rays from the guns mounted in their titanium chests.\u003c/p>\n\u003cp>From the vantage points of the 1930s through the 1960s, the source years for much of the material in this exhibition, we live in a future that’s lousy with robots, eclipsing even the imaginations of the most caffeinated sci-fi writers and lurid B-movie producers of those eras. Turns out the future is a pretty dull place, at least as far as robots are concerned. “Mother’s Day is May 11,” an ad in 2008 reminds us, “Buy her a Roomba.” Is that the best we can do: A disc that randomly bumps around your living room floor, sucking up everything in its path, but “intelligent” enough not to vacuum itself down a flight of stairs? “We were promised robots,” muses artist Michael Salter in a gallery handout. Your Roomba, and the foreseeable iterations that are certain to follow it, will never be as endearing as a robot like Rosie, the loyal and devoted metal maid in \u003cb>The Jetsons\u003c/b>. On the other hand, you’re never going to feel guilty about switching off your Roomba and hiding it away in a closet.\u003c/p>\n\u003cp>Indeed, Northrup’s exhibit is largely concerned with how we feel about robots like Rosie. To her credit, Northrup has not set out to explore how our lives have, or have not, been improved by things like Roombas. This almost complete apathy for the functional aspects of modern-day robots, let alone the tangible contributions they make to society, is one of the show’s many charms, and one of the main reasons why moving through the exhibition is so much fun.\u003c/p>\n\u003cp>Clayton Bailey’s work epitomizes the sense of play that permeates the galleries. His robots, assembled primarily from found metal objects, can be sly, cute, and funny, sometimes all at once. Through his choices of proximity and proportion, Bailey has an almost shamanistic ability to animate the inanimate. In his hands, junk is somehow elegant, graceful, suave, and, in the case of \u003cb>Robot Pet\u003c/b>, adorable. Just as the visionaries of the ’30s-’60s delivered the best robots they could scrounge from the corners of their minds, Bailey builds the best robots he can conjure with parts from the scrap yard. Which is not to say that Bailey is only a skilled scavenger. A few rooms away from \u003cb>Robot Pet\u003c/b> and its masters, \u003cb>Beautybot\u003c/b> and \u003cb>Boybot\u003c/b>, a trio of Bailey’s gun-metal-blue ceramic robot torsos are evidence that this guy can breath cartoon life into practically anything, even a clay teapot.\u003c/p>\n\u003cp>Another standout is Michael Mew, whose collage-like paintings of toy robots wreaking havoc on whatever stands in their wind-up way are given a glossy, clear-resin sheen. Despite Mew’s obvious infatuation with surface, his paintings invite us inside to explore a seductively foggy world of pulp science-fiction and advertising (or, perhaps, advertising-like) images.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compared to other artists in the show, Mew and Bailey are well represented, with four and six pieces respectively (Bailey also lent the exhibition a number of vintage toy robots from his personal collection). I could have done with at least that many works by Feric (Eric Feng), whose blueprint-like drawings of a bird and a benign raptor-like creature are superb works of draftsmanship. At first we are content to simply drink in the artist’s skill at rendering a wing or section of muscle, but then we notice that Feric’s lovely animals are actually little robots, whose innards are filled with low-tech, probably magic-powered gears. A short animated film of Feric’s winsome creations plays next to these two quiet sketches. I left this show longing for much more.\u003c/p>\n\u003cp>At the other end of the scale spectrum is Michael Salter’s \u003cb>Giant Styrobot\u003c/b>. When I first heard this object described in a radio ad (I think it was something about the world’s largest robot made out of recycled styrofoam, but I may have gotten the “world’s largest” part wrong), I was prepared for a gimmick. But I have to say, this is a pretty good gimmick. Reaching almost to the top of the two-story vaulted ceiling of the museum’s tallest gallery, \u003cb>Giant Styrobot\u003c/b> is surprisingly well rendered for something made out of discarded packing materials. Its composition is patient and subtle, as true to itself as the best Deborah Butterfield horse made of scraps of metal or found sticks. Beneath this gentle giant, children visiting the gallery sit at tables piled with Legos so they can make robots of their own. No doubt they too will one day be disappointed when it dawns on them that their childhood visions will probably never see the light of day, but it’s good to see a museum encouraging its young patrons to dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Robots: Evolution of a Cultural Icon\u003c/b> is on view at the San Jose Museum of Art through October 19, 2008. 110 South Market Street, 408-271-6840. For \u003ca href=\"http://www.sjmusart.org/\" target=\"offfsite\" rel=\"noopener\">more information\u003c/a> visit sjmusart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nostalgia is the prevailing sentiment in \u003cb>Robots: Evolution of a Cultural Icon\u003c/b>, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction’s golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. These are the robots of our futuristic daydreams from days gone by, the machines that would one day deliver us from empty lives of domestic drudgery and toil — that is, if they didn’t zap us to death first with fire rays from the guns mounted in their titanium chests.\u003c/p>\n\u003cp>From the vantage points of the 1930s through the 1960s, the source years for much of the material in this exhibition, we live in a future that’s lousy with robots, eclipsing even the imaginations of the most caffeinated sci-fi writers and lurid B-movie producers of those eras. Turns out the future is a pretty dull place, at least as far as robots are concerned. “Mother’s Day is May 11,” an ad in 2008 reminds us, “Buy her a Roomba.” Is that the best we can do: A disc that randomly bumps around your living room floor, sucking up everything in its path, but “intelligent” enough not to vacuum itself down a flight of stairs? “We were promised robots,” muses artist Michael Salter in a gallery handout. Your Roomba, and the foreseeable iterations that are certain to follow it, will never be as endearing as a robot like Rosie, the loyal and devoted metal maid in \u003cb>The Jetsons\u003c/b>. On the other hand, you’re never going to feel guilty about switching off your Roomba and hiding it away in a closet.\u003c/p>\n\u003cp>Indeed, Northrup’s exhibit is largely concerned with how we feel about robots like Rosie. To her credit, Northrup has not set out to explore how our lives have, or have not, been improved by things like Roombas. This almost complete apathy for the functional aspects of modern-day robots, let alone the tangible contributions they make to society, is one of the show’s many charms, and one of the main reasons why moving through the exhibition is so much fun.\u003c/p>\n\u003cp>Clayton Bailey’s work epitomizes the sense of play that permeates the galleries. His robots, assembled primarily from found metal objects, can be sly, cute, and funny, sometimes all at once. Through his choices of proximity and proportion, Bailey has an almost shamanistic ability to animate the inanimate. In his hands, junk is somehow elegant, graceful, suave, and, in the case of \u003cb>Robot Pet\u003c/b>, adorable. Just as the visionaries of the ’30s-’60s delivered the best robots they could scrounge from the corners of their minds, Bailey builds the best robots he can conjure with parts from the scrap yard. Which is not to say that Bailey is only a skilled scavenger. A few rooms away from \u003cb>Robot Pet\u003c/b> and its masters, \u003cb>Beautybot\u003c/b> and \u003cb>Boybot\u003c/b>, a trio of Bailey’s gun-metal-blue ceramic robot torsos are evidence that this guy can breath cartoon life into practically anything, even a clay teapot.\u003c/p>\n\u003cp>Another standout is Michael Mew, whose collage-like paintings of toy robots wreaking havoc on whatever stands in their wind-up way are given a glossy, clear-resin sheen. Despite Mew’s obvious infatuation with surface, his paintings invite us inside to explore a seductively foggy world of pulp science-fiction and advertising (or, perhaps, advertising-like) images.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compared to other artists in the show, Mew and Bailey are well represented, with four and six pieces respectively (Bailey also lent the exhibition a number of vintage toy robots from his personal collection). I could have done with at least that many works by Feric (Eric Feng), whose blueprint-like drawings of a bird and a benign raptor-like creature are superb works of draftsmanship. At first we are content to simply drink in the artist’s skill at rendering a wing or section of muscle, but then we notice that Feric’s lovely animals are actually little robots, whose innards are filled with low-tech, probably magic-powered gears. A short animated film of Feric’s winsome creations plays next to these two quiet sketches. I left this show longing for much more.\u003c/p>\n\u003cp>At the other end of the scale spectrum is Michael Salter’s \u003cb>Giant Styrobot\u003c/b>. When I first heard this object described in a radio ad (I think it was something about the world’s largest robot made out of recycled styrofoam, but I may have gotten the “world’s largest” part wrong), I was prepared for a gimmick. But I have to say, this is a pretty good gimmick. Reaching almost to the top of the two-story vaulted ceiling of the museum’s tallest gallery, \u003cb>Giant Styrobot\u003c/b> is surprisingly well rendered for something made out of discarded packing materials. Its composition is patient and subtle, as true to itself as the best Deborah Butterfield horse made of scraps of metal or found sticks. Beneath this gentle giant, children visiting the gallery sit at tables piled with Legos so they can make robots of their own. No doubt they too will one day be disappointed when it dawns on them that their childhood visions will probably never see the light of day, but it’s good to see a museum encouraging its young patrons to dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Robots: Evolution of a Cultural Icon\u003c/b> is on view at the San Jose Museum of Art through October 19, 2008. 110 South Market Street, 408-271-6840. For \u003ca href=\"http://www.sjmusart.org/\" target=\"offfsite\" rel=\"noopener\">more information\u003c/a> visit sjmusart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not to be outdone by last year’s \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">CCA centennial survey\u003c/a> at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM’s Elizabeth Thomas, \u003cb>MATRIX/REDUX\u003c/b> is a self-curated look at the Museum’s acclaimed program of a similar name.\u003c/p>\n\u003cp>Begun in 1978 by then BAM director, James Elliot, the MATRIX program was a way to present — almost immediately — work from rising or influential contemporary artists. The idea was revolutionary for its time. In the late ’70s it took most museums a few years of planning to mount exhibitions of art. MATRIX shows could be up and running in a few months.\u003c/p>\n\u003cp>Nowadays, MATRIX is the norm, and any museum of modern art worth its nettle has a similar project space program of its own.\u003c/p>\n\u003cp>\u003cb>MATRIX/REDUX\u003c/b>, the show, is a grab bag of work from about a quarter of the artists seen in the more than 220 exhibitions. I say grab bag because, well, outside of the obvious connection of folks once featured in MATRIX there isn’t really anything connecting the work. Tossed around the Museum’s numerous bays are fine examples of pieces from Richard Misrach, Ed Rushca, Julie Mehretu, Robert Bechtle and Louise Bourgeois.\u003c/p>\n\u003cp>Midway through a trudge into the show, a realization arose — contemporary art before Clinton (Bill, that is) was a lot funnier. I’m not saying the art world of the ’70s and ’80s was a laugh riot, but it certainly had more jokers in it than it does now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1986 appears to have been the year that contemporary art visited the Friars Club. Even though that was the year that Columbia blew up, Chernobyl melted down and we bombed the hell out of Libya, work created in 1986 by three artists in the show oscillates between cynical and funny.\u003c/p>\n\u003cp>Lutz Bacher’s collaged photos (found news pictures with a cartoon caption balloon added by the artist) had me laughing out loud. Alongside Johnny Carson berating Ed McMahon for brown-nosing, Bacher has Henry Kissinger announcing to Gerald Ford, “seen one president, seen them all.” \u003c/p>\n\u003cp>Not to be outdone, Adrian Piper’s \u003cb>My Calling (Card) #2\u003c/b> is equally smug in its smart-assness. Offset printed on card stock and slightly larger than a business card, the piece goes like this “dear friend, I am not here to pick anyone up, or to be picked up… I am here alone because I want to be here ALONE.”\u003c/p>\n\u003cp>And Raymond Pettibon, the bon vivant of punk rock art, offered a charmingly simple pen and ink drawing of a pair of glazed over eyes staring into space, scratched in underneath the word “drugs.”\u003c/p>\n\u003cp>It’s not that art isn’t occasionally funny now. Sure, Paul Kos’s \u003cb>Pilot Butte\u003c/b> from ’06, a digital broadcast of a real life grassy pasture onto a lushly painted monochrome canvas, could easily be read as a hilarious comment on Bay Area field painters. But I would much rather put my money down on Zoe Leonard’s 1990 \u003cb>Frontal View\u003c/b>, an upskirt photo of a model in a Geoffrey Beene fashion show. It’s as if Andrew Dice Clay grabbed a camera and headed for the runway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Part one of \u003cb>MATRIX/REDUX\u003c/b> is up now through May 18, 2008. Some of the pieces will removed and the rest will remain on view through July 20.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not to be outdone by last year’s \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">CCA centennial survey\u003c/a> at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM’s Elizabeth Thomas, \u003cb>MATRIX/REDUX\u003c/b> is a self-curated look at the Museum’s acclaimed program of a similar name.\u003c/p>\n\u003cp>Begun in 1978 by then BAM director, James Elliot, the MATRIX program was a way to present — almost immediately — work from rising or influential contemporary artists. The idea was revolutionary for its time. In the late ’70s it took most museums a few years of planning to mount exhibitions of art. MATRIX shows could be up and running in a few months.\u003c/p>\n\u003cp>Nowadays, MATRIX is the norm, and any museum of modern art worth its nettle has a similar project space program of its own.\u003c/p>\n\u003cp>\u003cb>MATRIX/REDUX\u003c/b>, the show, is a grab bag of work from about a quarter of the artists seen in the more than 220 exhibitions. I say grab bag because, well, outside of the obvious connection of folks once featured in MATRIX there isn’t really anything connecting the work. Tossed around the Museum’s numerous bays are fine examples of pieces from Richard Misrach, Ed Rushca, Julie Mehretu, Robert Bechtle and Louise Bourgeois.\u003c/p>\n\u003cp>Midway through a trudge into the show, a realization arose — contemporary art before Clinton (Bill, that is) was a lot funnier. I’m not saying the art world of the ’70s and ’80s was a laugh riot, but it certainly had more jokers in it than it does now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1986 appears to have been the year that contemporary art visited the Friars Club. Even though that was the year that Columbia blew up, Chernobyl melted down and we bombed the hell out of Libya, work created in 1986 by three artists in the show oscillates between cynical and funny.\u003c/p>\n\u003cp>Lutz Bacher’s collaged photos (found news pictures with a cartoon caption balloon added by the artist) had me laughing out loud. Alongside Johnny Carson berating Ed McMahon for brown-nosing, Bacher has Henry Kissinger announcing to Gerald Ford, “seen one president, seen them all.” \u003c/p>\n\u003cp>Not to be outdone, Adrian Piper’s \u003cb>My Calling (Card) #2\u003c/b> is equally smug in its smart-assness. Offset printed on card stock and slightly larger than a business card, the piece goes like this “dear friend, I am not here to pick anyone up, or to be picked up… I am here alone because I want to be here ALONE.”\u003c/p>\n\u003cp>And Raymond Pettibon, the bon vivant of punk rock art, offered a charmingly simple pen and ink drawing of a pair of glazed over eyes staring into space, scratched in underneath the word “drugs.”\u003c/p>\n\u003cp>It’s not that art isn’t occasionally funny now. Sure, Paul Kos’s \u003cb>Pilot Butte\u003c/b> from ’06, a digital broadcast of a real life grassy pasture onto a lushly painted monochrome canvas, could easily be read as a hilarious comment on Bay Area field painters. But I would much rather put my money down on Zoe Leonard’s 1990 \u003cb>Frontal View\u003c/b>, an upskirt photo of a model in a Geoffrey Beene fashion show. It’s as if Andrew Dice Clay grabbed a camera and headed for the runway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Part one of \u003cb>MATRIX/REDUX\u003c/b> is up now through May 18, 2008. Some of the pieces will removed and the rest will remain on view through July 20.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NIAD: Call & Response",
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"content": "\u003cp>You know what call and response is, right?\u003c/p>\n\u003cp>If you’ve ever been to church or attended a rally, you do. Or if you’ve listened to music — like James Brown’s “Soul Power” — you know what I’m talking about.\u003c/p>\n\u003cp>Yep, its when one person poses a question or makes a statement and the like-minded group proffers a reply. In “Soul Power,” when Brown sings “What we want?” the JB’s ecstatically offer “SOUL POWER!” Got it now?\u003c/p>\n\u003cp>\u003ca href=\"http://www.niadart.org/\" target=\"offsite\" rel=\"noopener\">NIAD (National Institute of Art and Disabilities) Art Center\u003c/a>, that local gem of an artist studio program, is currently offering \u003ca href=\"http://www.niadart.org/exhibits.html\" target=\"offsite\" rel=\"noopener\">Call & Response\u003c/a>, their own take on this classic form of communication. But in their case the exchange is visual not verbal.\u003c/p>\n\u003cp>You know what NIAD is right? Alright sleepyhead, here goes: formed more than a quarter century ago in downtown Richmond by Elias Katz and Florence Ludins-Katz, NIAD is program that works with talented and developmentally and/or physically disabled adults. A couple of the artists in the program deserve a wider audience, but more on that later. On a good day, about 50 people can be found at work on painting, ceramics, printmaking, sculpture or exercising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the beginning of 2008, NIAD sent a selection of their works (mostly drawings and paintings) a few blocks across town to \u003ca href=\"http://en.wikipedia.org/wiki/Richmond_High_School_(Richmond,_California)\" target=\"offsite\" rel=\"noopener\">Richmond High School\u003c/a>. With some direction from teacher Ivette Hermann, more than a dozen art students reinterpreted the work. The results are fantastic and unexpected. \u003cb>Call & Response\u003c/b> pairs up the student’ pieces with the artist originals to beautiful effect.\u003c/p>\n\u003cp>A few of the groupings are a bit like remixes, elements from the original are given some space and a bigger beat in another. A floating duck drawn nearly in close up by a NIAD artist is redrawn by a youth, but in a minimal landscape and from an aerial view. And that’s cool.\u003c/p>\n\u003cp>But the show sparkles when one artist’s piece is simply a stepping stone of ideas for another artist. Billy White, whose line contains the force of \u003ca href=\"http://en.wikipedia.org/wiki/Optimus_Prime\" target=\"offsite\" rel=\"noopener\">Optimus Prime\u003c/a>, offers a startling and rugged figure drawing that seems to be part man and part dog in contemplation on a murky field of blue, titled \u003cb>Vincent Van\u003c/b> (sic) Gogh \u003cb>thinking about his next art piece he is going to be doing\u003c/b>. In response Jose Emanuel Gil has offered \u003cb>The Flowers\u003c/b>, an almost square drawing of five blood red flowers in various stages of bloom. The sky behind is rendered in pitch black. The earth below a peaty brown. The associations between the two explode, creating a seemingly endless chatter.\u003c/p>\n\u003cp>Sylvia Fragoso’s \u003cb>Untitled\u003c/b> is an all-over composition, a semi-abstract number bursting with plants, birds and bugs swaying under some heavy ornamentation. Araceli DeLa Torre’s \u003cb>Tri-Bows\u003c/b> is a message back. Fragoso’s all over-ness arrives intact but DeLa Torre has replaced the figurative elements with some seriously elegant geometry and pattern, swaying majestically under shimmering fields of baubles. DeLa Torre stands up to Fragoso’s colorfully labor intensive piece with a labor intensity of her own, as if Fragoso had given her license to be obsessive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up, NIAD needs to invite Richmond High into the studio to collaborate directly on pieces. The results can only be stunning.\u003c/p>\n\n",
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"excerpt": "You know what call and response is, right?\u003cp>If you've ever been to church or attended a rally, you do. Or if you've listened to music -- like James Brown's \"Soul Power\" -- you know what I'm talking about.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what call and response is, right?\u003c/p>\n\u003cp>If you’ve ever been to church or attended a rally, you do. Or if you’ve listened to music — like James Brown’s “Soul Power” — you know what I’m talking about.\u003c/p>\n\u003cp>Yep, its when one person poses a question or makes a statement and the like-minded group proffers a reply. In “Soul Power,” when Brown sings “What we want?” the JB’s ecstatically offer “SOUL POWER!” Got it now?\u003c/p>\n\u003cp>\u003ca href=\"http://www.niadart.org/\" target=\"offsite\" rel=\"noopener\">NIAD (National Institute of Art and Disabilities) Art Center\u003c/a>, that local gem of an artist studio program, is currently offering \u003ca href=\"http://www.niadart.org/exhibits.html\" target=\"offsite\" rel=\"noopener\">Call & Response\u003c/a>, their own take on this classic form of communication. But in their case the exchange is visual not verbal.\u003c/p>\n\u003cp>You know what NIAD is right? Alright sleepyhead, here goes: formed more than a quarter century ago in downtown Richmond by Elias Katz and Florence Ludins-Katz, NIAD is program that works with talented and developmentally and/or physically disabled adults. A couple of the artists in the program deserve a wider audience, but more on that later. On a good day, about 50 people can be found at work on painting, ceramics, printmaking, sculpture or exercising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the beginning of 2008, NIAD sent a selection of their works (mostly drawings and paintings) a few blocks across town to \u003ca href=\"http://en.wikipedia.org/wiki/Richmond_High_School_(Richmond,_California)\" target=\"offsite\" rel=\"noopener\">Richmond High School\u003c/a>. With some direction from teacher Ivette Hermann, more than a dozen art students reinterpreted the work. The results are fantastic and unexpected. \u003cb>Call & Response\u003c/b> pairs up the student’ pieces with the artist originals to beautiful effect.\u003c/p>\n\u003cp>A few of the groupings are a bit like remixes, elements from the original are given some space and a bigger beat in another. A floating duck drawn nearly in close up by a NIAD artist is redrawn by a youth, but in a minimal landscape and from an aerial view. And that’s cool.\u003c/p>\n\u003cp>But the show sparkles when one artist’s piece is simply a stepping stone of ideas for another artist. Billy White, whose line contains the force of \u003ca href=\"http://en.wikipedia.org/wiki/Optimus_Prime\" target=\"offsite\" rel=\"noopener\">Optimus Prime\u003c/a>, offers a startling and rugged figure drawing that seems to be part man and part dog in contemplation on a murky field of blue, titled \u003cb>Vincent Van\u003c/b> (sic) Gogh \u003cb>thinking about his next art piece he is going to be doing\u003c/b>. In response Jose Emanuel Gil has offered \u003cb>The Flowers\u003c/b>, an almost square drawing of five blood red flowers in various stages of bloom. The sky behind is rendered in pitch black. The earth below a peaty brown. The associations between the two explode, creating a seemingly endless chatter.\u003c/p>\n\u003cp>Sylvia Fragoso’s \u003cb>Untitled\u003c/b> is an all-over composition, a semi-abstract number bursting with plants, birds and bugs swaying under some heavy ornamentation. Araceli DeLa Torre’s \u003cb>Tri-Bows\u003c/b> is a message back. Fragoso’s all over-ness arrives intact but DeLa Torre has replaced the figurative elements with some seriously elegant geometry and pattern, swaying majestically under shimmering fields of baubles. DeLa Torre stands up to Fragoso’s colorfully labor intensive piece with a labor intensity of her own, as if Fragoso had given her license to be obsessive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up, NIAD needs to invite Richmond High into the studio to collaborate directly on pieces. The results can only be stunning.\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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"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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"planet-money": {
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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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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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"
},
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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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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