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"content": "\u003cp>Never before have I lost my cool in an art museum. Never have I shrieked, paced, or had to step outside for air while viewing an exhibit. Then I went the Broad Contemporary Art Museum in Los Angeles. It all started with a gang of Jeff Koons sculptures — a giant balloon animal dog with a nickel-infused shiny blue finish next to an equally shiny, large red egg cracked open to signify the birth of this new museum. Next to those were three of Koons’s enormous neon-bright paintings, two aluminum sculptures of inflatable pool toys stuffed in ladders, a golden porcelain Michael Jackson sculpture you may have \u003ca href=\"http://collections.sfmoma.org/OBJ187.htm\" target=\"offsite\" rel=\"noopener\">seen at SFMOMA\u003c/a>, three basketballs in a fish tank, and more. While marveling at the Koons extravaganza, I nearly tripped over a pile of Andy Warhol’s Kelloggs’ boxes. In the same gallery were several of Warhol’s celebrity prints and one the last works he created, a 35-foot long painting from the \u003cb>Camouflage\u003c/b> series. It seemed like a curator’s bad dream, and it was only the first of the Broad’s many impressively overwhelming galleries.\u003c/p>\n\u003cp>Rounding the corner, I found endless spaces, each dedicated to a big name contemporary artist — Rauschenberg, Johns, Lichtenstein, Basquiat, the list goes on. Somewhere between the darkened room full of Mike Kelley installations, and a gallery with floor-to-ceiling Cindy Sherman photographs, I began to feel dizzy. Facing more artwork than I’d ever seen at once — from two of my favorite artists in close sequence — was too much. Even more unreal was the knowledge that someone independently purchased most of this artwork for his own personal collection. Yes, Eli Broad built his own museum on the Los Angeles County Museum of Art’s campus to house and display his collection. He wants L.A. to be the contemporary art center of the universe and he is perpetuating a trend among art collectors that is, according to the \u003ca href=\"http://online.wsj.com/article/SB120727433942088537.html\" target=\"offsite\" rel=\"noopener\">\u003ci>Wall Street Journal\u003c/i>\u003c/a>, unnerving the world’s museum directors.\u003c/p>\n\u003cp>Broad likes his art big. Even the museum’s super-sized glass elevator was customized with a three-story Barbara Kruger installation. One gallery held Robert Therrien’s monster-sized wooden table and chairs; it made me feel Lilliputian, and as much as I wanted to scoff at Broad’s lavish collection, I liked it. Another gallery was filled with Chris Burden’s \u003ca href=\"http://www.artsjournal.com/man/2007/01/acquisition_chris_burdens_hell.html\">Hell Gate Bridge\u003c/a>. Burden also installed a grove of antique \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2402452648\" target=\"offsite\" rel=\"noopener\">street lamps\u003c/a> outside the museum alongside Koons’ big balloon \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2401602029\" target=\"offsite\" rel=\"noopener\">Tulips\u003c/a>, and Charles Ray’s scaled-up replica of a wooden toy \u003cb>Firetruck\u003c/b>.\u003c/p>\n\u003cp>Then there was Damian Hirst’s work: a greenhouse complete with live butterflies and a robotic scientist in one room, and a sheep in formaldehyde in another. I don’t know what Hirst’s preserved farm animals cost these days, but one of his \u003ca href=\"http://news.bbc.co.uk/1/hi/england/west_yorkshire/7302642.stm\" target=\"offsite\" rel=\"noopener\">formaldehyde fish\u003c/a> is expected to sell for one million pounds in the UK. This brings us to the first floor, which was filled with two \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=4803\" target=\"offsite\" rel=\"noopener\">Richard Serra\u003c/a> sculptures, \u003cb>Sequence\u003c/b> and \u003cb>Band\u003c/b>. For those unfamiliar with the size of Serra’s work, it is often made of several hundred tons of steel and requires the temporary reinforcement of any bridges it travels over. The sculptures were staggering, like towering ribbons of rusty steel forming a labyrinth almost as high as the ceiling. The dizziness returned.\u003c/p>\n\u003cp>Now that I’ve name-dropped my way through the description, I probably don’t need to point out that white American male artists dominate Broad’s collection. For some stats on the artists and a real critique, check out Roberta Smith’s \u003ca href=\"http://www.nytimes.com/2008/02/15/arts/design/15broa.html?pagewanted=1&_r=1&sq=broad%20contemporary%20art%20museum&st=nyt&scp=1\" target=\"offsite\" rel=\"noopener\">\u003ci>NY Times\u003c/i>\u003c/a> review and slideshow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A word to the wise for any disbelieving contemporary art nerds like myself who will need to see BCAM immediately: bring a paper bag in case of hyperventilation. I haven’t described even half of the museum.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Never before have I lost my cool in an art museum. Never have I shrieked, paced, or had to step outside for air while viewing an exhibit. Then I went the Broad Contemporary Art Museum in Los Angeles. It all started with a gang of Jeff Koons sculptures — a giant balloon animal dog with a nickel-infused shiny blue finish next to an equally shiny, large red egg cracked open to signify the birth of this new museum. Next to those were three of Koons’s enormous neon-bright paintings, two aluminum sculptures of inflatable pool toys stuffed in ladders, a golden porcelain Michael Jackson sculpture you may have \u003ca href=\"http://collections.sfmoma.org/OBJ187.htm\" target=\"offsite\" rel=\"noopener\">seen at SFMOMA\u003c/a>, three basketballs in a fish tank, and more. While marveling at the Koons extravaganza, I nearly tripped over a pile of Andy Warhol’s Kelloggs’ boxes. In the same gallery were several of Warhol’s celebrity prints and one the last works he created, a 35-foot long painting from the \u003cb>Camouflage\u003c/b> series. It seemed like a curator’s bad dream, and it was only the first of the Broad’s many impressively overwhelming galleries.\u003c/p>\n\u003cp>Rounding the corner, I found endless spaces, each dedicated to a big name contemporary artist — Rauschenberg, Johns, Lichtenstein, Basquiat, the list goes on. Somewhere between the darkened room full of Mike Kelley installations, and a gallery with floor-to-ceiling Cindy Sherman photographs, I began to feel dizzy. Facing more artwork than I’d ever seen at once — from two of my favorite artists in close sequence — was too much. Even more unreal was the knowledge that someone independently purchased most of this artwork for his own personal collection. Yes, Eli Broad built his own museum on the Los Angeles County Museum of Art’s campus to house and display his collection. He wants L.A. to be the contemporary art center of the universe and he is perpetuating a trend among art collectors that is, according to the \u003ca href=\"http://online.wsj.com/article/SB120727433942088537.html\" target=\"offsite\" rel=\"noopener\">\u003ci>Wall Street Journal\u003c/i>\u003c/a>, unnerving the world’s museum directors.\u003c/p>\n\u003cp>Broad likes his art big. Even the museum’s super-sized glass elevator was customized with a three-story Barbara Kruger installation. One gallery held Robert Therrien’s monster-sized wooden table and chairs; it made me feel Lilliputian, and as much as I wanted to scoff at Broad’s lavish collection, I liked it. Another gallery was filled with Chris Burden’s \u003ca href=\"http://www.artsjournal.com/man/2007/01/acquisition_chris_burdens_hell.html\">Hell Gate Bridge\u003c/a>. Burden also installed a grove of antique \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2402452648\" target=\"offsite\" rel=\"noopener\">street lamps\u003c/a> outside the museum alongside Koons’ big balloon \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2401602029\" target=\"offsite\" rel=\"noopener\">Tulips\u003c/a>, and Charles Ray’s scaled-up replica of a wooden toy \u003cb>Firetruck\u003c/b>.\u003c/p>\n\u003cp>Then there was Damian Hirst’s work: a greenhouse complete with live butterflies and a robotic scientist in one room, and a sheep in formaldehyde in another. I don’t know what Hirst’s preserved farm animals cost these days, but one of his \u003ca href=\"http://news.bbc.co.uk/1/hi/england/west_yorkshire/7302642.stm\" target=\"offsite\" rel=\"noopener\">formaldehyde fish\u003c/a> is expected to sell for one million pounds in the UK. This brings us to the first floor, which was filled with two \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=4803\" target=\"offsite\" rel=\"noopener\">Richard Serra\u003c/a> sculptures, \u003cb>Sequence\u003c/b> and \u003cb>Band\u003c/b>. For those unfamiliar with the size of Serra’s work, it is often made of several hundred tons of steel and requires the temporary reinforcement of any bridges it travels over. The sculptures were staggering, like towering ribbons of rusty steel forming a labyrinth almost as high as the ceiling. The dizziness returned.\u003c/p>\n\u003cp>Now that I’ve name-dropped my way through the description, I probably don’t need to point out that white American male artists dominate Broad’s collection. For some stats on the artists and a real critique, check out Roberta Smith’s \u003ca href=\"http://www.nytimes.com/2008/02/15/arts/design/15broa.html?pagewanted=1&_r=1&sq=broad%20contemporary%20art%20museum&st=nyt&scp=1\" target=\"offsite\" rel=\"noopener\">\u003ci>NY Times\u003c/i>\u003c/a> review and slideshow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nevermind Walter Benjamin’s pronouncements on art and mechanical reproduction. SFMoMA’s \u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=304v\">Lee Friedlander retrospective\u003c/a> will quickly convince you that the original remains king.\u003c/p>\n\u003cp>Friedlander’s early prints are rich and luminous. There are true blacks, clear whites, and fine, delicate gradations of grey. On the printed page, the photographs lose something of themselves. They fall flat. Page through the exhibition’s massive catalogue, and you’ll quickly see what I mean.\u003c/p>\n\u003cp>I mention this, because we are so accustomed to reading photographs, so accustomed to interacting with photographs as reproductions or pages in books, that we forget that photographs are material objects. And Friedlander’s his skill as a crafter of objects.\u003c/p>\n\u003cp>Friedlander’s prints are careful, clean, and precise. In person, they display a polish that is often at odds with the photographer’s loose, often messy, aesthetic. \u003ci>New York Times\u003c/i> critic, Andy Grundberg, described Friedlander as “genial, unpretentious, and even humane.”\u003c/p>\n\u003cp>Friedlander’s eye is drawn to disarray. His landscapes, so unlike those by Ansel Adams or Edward Weston, bristle with detail. Life, Friedlander admits, is a dirty, messy deed. The best moments are those generated on the fly. And so Friedlander gives us odd angles, faces chopped at the forehead or chin, streetscapes interrupted by telephone poles and fire hydrants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Balance that disarray against the prints’ own luminosity, against Friedlander’s precise control of tone and shade, and you begin to see the contradictions within his work.\u003c/p>\n\u003cp>Today, Friedlander’s photographs no longer seem quite so revelatory. But if we view his work in historical context, if we understand Friedlander’s oeuvre as a reaction to formalism, and as a protest against modernism’s insistence on a pure aesthetic sphere, then we begin to see where Friedlander broke ranks.\u003c/p>\n\u003cp>Peter Galassi, the exhibition’s curator, argues that Lee Friedlander is not a modernist. Friedlander does not seek to distill photography to its essence. Rather, Friedlander turned his lens outward, eager to document the world. His work lies at the intersection of journalism and art. Strongly influenced by Robert Frank and Walker Evans, as well as Henri Cartier-Bresson, Friedlander did not just photograph the street. He photographed in the street. He wanted to be in the thick of things, experiencing life with the camera.\u003c/p>\n\u003cp>At his best, Lee Friedlander is an intelligent, playful photographer, attentive to photography’s surreal possibilities. Though he is capable of turning out tight, formal compositions, Friedlander possesses a trickster streak, and the retrospective is thick with visual puns. On an average day, Friedlander is Dickens, masquerading as a photographer — prolix, prolific, writing paragraphs packed with looping sentences.\u003c/p>\n\u003cp>Galassi describes Friedlander as “addicted to photography.” The Friedlander retrospective gives ample proof of his addiction. He photographed everything. \u003c/p>\n\u003cp>We walk through room after packed room. The photographs multiplying before our eyes, creating a storm of visual noise. There are simply too many. There’s a wall of nudes, another wall of “alphabet photographs,” yet another wall of fashion photographs. There are photographs of trees, photographs of monuments… Taken as a group, each set makes sense. They relate to each other, they tell stories, even say some clever things. Yet one doesn’t read a gallery wall in quite the same way as a book. I longed for more white space, for a moment to rest. \u003c/p>\n\u003cp>I felt Friedlander’s power as a photographer most keenly in those moments when I felt compelled — despite the exhibition’s overwhelming visual noise — to pause and look again. That happened, once, at the very beginning of the retrospective. “Baltimore, Maryland” (1962) is deceptively simple, just a lamp and a chair, sitting side by side, yet the print seethes with richness and luminosity. Friedlander gives us the very essence of these objects, as outlined by light. They seem to exist solely as apparitions of light, yet we can almost touch them. They are so voluptuous, more voluptuous, even, than the real thing. He does it again partway through the show. In another photograph, a scattering of camellias, pale and ghostly, float against a sea of dark, glossy leaves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They forced me to stop reading, and start looking. In these moments, Friedlander offers more. He gives us, not just a one-off moment or a clever one-liner, but something like pure sight. What happens when the camera cuts through the world’s bewildering array of signals and noise? You’ll have to visit to find out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Balance that disarray against the prints’ own luminosity, against Friedlander’s precise control of tone and shade, and you begin to see the contradictions within his work.\u003c/p>\n\u003cp>Today, Friedlander’s photographs no longer seem quite so revelatory. But if we view his work in historical context, if we understand Friedlander’s oeuvre as a reaction to formalism, and as a protest against modernism’s insistence on a pure aesthetic sphere, then we begin to see where Friedlander broke ranks.\u003c/p>\n\u003cp>Peter Galassi, the exhibition’s curator, argues that Lee Friedlander is not a modernist. Friedlander does not seek to distill photography to its essence. Rather, Friedlander turned his lens outward, eager to document the world. His work lies at the intersection of journalism and art. Strongly influenced by Robert Frank and Walker Evans, as well as Henri Cartier-Bresson, Friedlander did not just photograph the street. He photographed in the street. He wanted to be in the thick of things, experiencing life with the camera.\u003c/p>\n\u003cp>At his best, Lee Friedlander is an intelligent, playful photographer, attentive to photography’s surreal possibilities. Though he is capable of turning out tight, formal compositions, Friedlander possesses a trickster streak, and the retrospective is thick with visual puns. On an average day, Friedlander is Dickens, masquerading as a photographer — prolix, prolific, writing paragraphs packed with looping sentences.\u003c/p>\n\u003cp>Galassi describes Friedlander as “addicted to photography.” The Friedlander retrospective gives ample proof of his addiction. He photographed everything. \u003c/p>\n\u003cp>We walk through room after packed room. The photographs multiplying before our eyes, creating a storm of visual noise. There are simply too many. There’s a wall of nudes, another wall of “alphabet photographs,” yet another wall of fashion photographs. There are photographs of trees, photographs of monuments… Taken as a group, each set makes sense. They relate to each other, they tell stories, even say some clever things. Yet one doesn’t read a gallery wall in quite the same way as a book. I longed for more white space, for a moment to rest. \u003c/p>\n\u003cp>I felt Friedlander’s power as a photographer most keenly in those moments when I felt compelled — despite the exhibition’s overwhelming visual noise — to pause and look again. That happened, once, at the very beginning of the retrospective. “Baltimore, Maryland” (1962) is deceptively simple, just a lamp and a chair, sitting side by side, yet the print seethes with richness and luminosity. Friedlander gives us the very essence of these objects, as outlined by light. They seem to exist solely as apparitions of light, yet we can almost touch them. They are so voluptuous, more voluptuous, even, than the real thing. He does it again partway through the show. In another photograph, a scattering of camellias, pale and ghostly, float against a sea of dark, glossy leaves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They forced me to stop reading, and start looking. In these moments, Friedlander offers more. He gives us, not just a one-off moment or a clever one-liner, but something like pure sight. What happens when the camera cuts through the world’s bewildering array of signals and noise? You’ll have to visit to find out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New Yorker \u003ca href=\"http://tadashimoriyama.com/\" target=\"offsite\" rel=\"noopener\">Tadashi Moriyama\u003c/a> packs his small scale gouache and ink drawings full of objects. Usually homogeneous office buildings. Occasionally he leaves room for some sky or water, but this might be intended only to give his wrist some relief before forcing it to scratch in some more skyscrapers.\u003c/p>\n\u003cp>Color seems to be incidental to his work. Appearing randomly chosen, his palette is limited to washed-out blues and a yellow that imitates the tone of a highlighter pen. Sometimes a green percolates to the surface. There is really no reason for the colors. His drawings could easily exist in black & white.\u003c/p>\n\u003cp>Nothing is horribly wrong with Moriyama’s work, except how much they owe — ideologically and stylistically — to Hans Georg Rauch’s stark political cartoons of the ’70s. Rauch’s “\u003ca href=\"http://query.nytimes.com/gst/fullpage.html?res=950DE5D61438F930A25751C1A967948260\" target=\"offsite\" rel=\"noopener\">baroque architectonics\u003c/a>” were truly horrific, while Moriyama’s seems merely, um, limpid.\u003c/p>\n\u003cp>And that is the problem with much of the work featured in \u003cb>Propagations\u003c/b>, the latest group show at Johansson Projects. For a selection of artists intended to expound upon and expand ideas of fecundity, the gallery seems a little barren.\u003c/p>\n\u003cp>Kiersten Essenpreis and \u003ca href=\"http://www.alexisamann.com/\" target=\"offsite\" rel=\"noopener\">Alexis Amann\u003c/a>, painters both, tend toward navel gazing. Their tattooed heroines exist in vulgar worlds full of puking, severed limbs and dead fish. Surrealism mixes with bits of self-loathing. Reflecting back, I can’t be totally sure about the self-loathing. It may just be the heroines’ emotions are hard to read due to poor brush work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With a few hundred pieces of folded paper hanging from the ceiling, \u003ca href=\"http://www.flickr.com/people/paulandrewhayes/\" target=\"offsite\" rel=\"noopener\">Paul Hayes\u003c/a>‘s \u003cb>Cultivated Momentum\u003c/b> might have had the ability to recreate the fear of swarms found in Alfred Hitchcock’s \u003ca href=\"http://www.imdb.com/media/rm2003015680/tt0056869\" target=\"offsite\" rel=\"noopener\">The Birds\u003c/a>. I say “might have” because the installation is too darn small. Measuring in at no more that twelve feet square, it’s hardly menacing. To be visually arresting it really needs to grow and take over the entire second bay at Johansson.\u003c/p>\n\u003cp>All is not lost though.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rebeccawhipple.com/\" target=\"offsite\" rel=\"noopener\">Rebecca Whipple\u003c/a>‘s richly-colored drawings are terrific. And are the show’s saving grace. Using the vocabulary of \u003ca href=\"http://en.wikipedia.org/wiki/Persian_miniature\" target=\"offsite\" rel=\"noopener\">classic Persian miniatures\u003c/a>, Whipple creates mysterious tales of beauty, carnage and unfettered misery in the Middle East.\u003c/p>\n\u003cp>Her stunning \u003cb>Victory\u003c/b> features a mountainous paradise populated by explosions, camels, rams and fleeing human body parts. Surrounding this lurid scene is a flat brown border filled with death from above, a half-dozen \u003ca href=\"http://www.fiddlersgreen.net/AC/aircraft/Boeing-B52/info/3-view-b52.jpg\" target=\"offsite\" rel=\"noopener\">Superfortress Bombers\u003c/a> raining down hell’s fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Propagation, indeed.\u003cbr>\u003cb>Propagations\u003c/b> is at Johansson Projects in Oakland through May 2, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New Yorker \u003ca href=\"http://tadashimoriyama.com/\" target=\"offsite\" rel=\"noopener\">Tadashi Moriyama\u003c/a> packs his small scale gouache and ink drawings full of objects. Usually homogeneous office buildings. Occasionally he leaves room for some sky or water, but this might be intended only to give his wrist some relief before forcing it to scratch in some more skyscrapers.\u003c/p>\n\u003cp>Color seems to be incidental to his work. Appearing randomly chosen, his palette is limited to washed-out blues and a yellow that imitates the tone of a highlighter pen. Sometimes a green percolates to the surface. There is really no reason for the colors. His drawings could easily exist in black & white.\u003c/p>\n\u003cp>Nothing is horribly wrong with Moriyama’s work, except how much they owe — ideologically and stylistically — to Hans Georg Rauch’s stark political cartoons of the ’70s. Rauch’s “\u003ca href=\"http://query.nytimes.com/gst/fullpage.html?res=950DE5D61438F930A25751C1A967948260\" target=\"offsite\" rel=\"noopener\">baroque architectonics\u003c/a>” were truly horrific, while Moriyama’s seems merely, um, limpid.\u003c/p>\n\u003cp>And that is the problem with much of the work featured in \u003cb>Propagations\u003c/b>, the latest group show at Johansson Projects. For a selection of artists intended to expound upon and expand ideas of fecundity, the gallery seems a little barren.\u003c/p>\n\u003cp>Kiersten Essenpreis and \u003ca href=\"http://www.alexisamann.com/\" target=\"offsite\" rel=\"noopener\">Alexis Amann\u003c/a>, painters both, tend toward navel gazing. Their tattooed heroines exist in vulgar worlds full of puking, severed limbs and dead fish. Surrealism mixes with bits of self-loathing. Reflecting back, I can’t be totally sure about the self-loathing. It may just be the heroines’ emotions are hard to read due to poor brush work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a few hundred pieces of folded paper hanging from the ceiling, \u003ca href=\"http://www.flickr.com/people/paulandrewhayes/\" target=\"offsite\" rel=\"noopener\">Paul Hayes\u003c/a>‘s \u003cb>Cultivated Momentum\u003c/b> might have had the ability to recreate the fear of swarms found in Alfred Hitchcock’s \u003ca href=\"http://www.imdb.com/media/rm2003015680/tt0056869\" target=\"offsite\" rel=\"noopener\">The Birds\u003c/a>. I say “might have” because the installation is too darn small. Measuring in at no more that twelve feet square, it’s hardly menacing. To be visually arresting it really needs to grow and take over the entire second bay at Johansson.\u003c/p>\n\u003cp>All is not lost though.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rebeccawhipple.com/\" target=\"offsite\" rel=\"noopener\">Rebecca Whipple\u003c/a>‘s richly-colored drawings are terrific. And are the show’s saving grace. Using the vocabulary of \u003ca href=\"http://en.wikipedia.org/wiki/Persian_miniature\" target=\"offsite\" rel=\"noopener\">classic Persian miniatures\u003c/a>, Whipple creates mysterious tales of beauty, carnage and unfettered misery in the Middle East.\u003c/p>\n\u003cp>Her stunning \u003cb>Victory\u003c/b> features a mountainous paradise populated by explosions, camels, rams and fleeing human body parts. Surrounding this lurid scene is a flat brown border filled with death from above, a half-dozen \u003ca href=\"http://www.fiddlersgreen.net/AC/aircraft/Boeing-B52/info/3-view-b52.jpg\" target=\"offsite\" rel=\"noopener\">Superfortress Bombers\u003c/a> raining down hell’s fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Propagation, indeed.\u003cbr>\u003cb>Propagations\u003c/b> is at Johansson Projects in Oakland through May 2, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In March 2008, \u003ci>Gallery Crawl\u003c/i> visits San Francisco’s Mission District to see \u003cem>STAND STILL LIKE THE HUMMINGBIRD\u003c/em>, Paul Wackers’s second solo exhibition at the Eleanor Harwood Gallery. We also checked out \u003cem>STARTING WITH BLADE\u003c/em>, an international collaboration featuring works that contemplate community…starting with the work of San Francisco-based artist, Michelle Blade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A painter can often recall the first painting that truly inspired. Below is the second in a three part series (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\" target=\"offsite\" rel=\"noopener\">read part one\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>TIMOTHY BUCKWALTER:\u003c/b> \u003ca href=\"http://www.understandingduchamp.com/\">Marcel Duchamp\u003c/a> knocked me out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/nude.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">I was 17-years-old and visiting a show of painted Dutch tiles at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>. I wandered out of the exhibition, eventually making my way back to the Modern and Contemporary section. I stumbled into Gallery 182 and looked up to see Duchamp’s \u003cb>Nude Descending a Staircase (No. 2)\u003c/b>. I never looked back.\u003c/p>\n\u003cp>Earlier that year, 1983, I had seen a reproduction of Franz Marc’s \u003ca href=\"http://media.walkerart.org/5939480.jpg\" target=\"offsite\" rel=\"noopener\">The Large Blue Horses\u003c/a>. It blew me away. Though it was painted more than 72 years before, to my untrained eye it was like an amazing combination of tattoo art and new wave music. It wore the butch confidence and primitiveness of flash. And the colors seemed so alive I instantly related it to the vibrancy of the music with which I was obsessed. I kept trying to find more.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Der_Blaue_Reiter\" target=\"offsite\" rel=\"noopener\">Marc and the Blue Rider group\u003c/a> — a loosely knit collective of artists that held the then-radical notion of integrating art across media boundaries, so they actively recruited not only painters and sculptors but also musicians, composers, writers, architects, and designers to their ranks — made me realize that art could be as big as life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Duchamp offered something else, a beauty and grace mixed with motion and messiness. There was nowhere on the canvas that wasn’t moving, wasn’t alive. Action and motion lines were exploding everywhere. The figure had a giddiness to it. It was kinda funny and made me think of sex. I couldn’t stop staring.\u003c/p>\n\u003cp>And I wanted a part of it. I wanted to spend my life trying to paint like that.\u003c/p>\n\u003cp>\u003ca href=\"http://timothybuckwalter.typepad.com/\" target=\"offsite\" rel=\"noopener\">Timothy Buckwalter\u003c/a>‘s paintings and drawings are currently the subject of an exhibition at \u003ca href=\"http://www.pharmaka-art.org/\" target=\"offsite\" rel=\"noopener\">Pharmaka Art\u003c/a>. He is represented by Rebecca Ibel Gallery and Braunstein/Quay Gallery. Online his work is represented by \u003ca href=\"http://www.beholder-art.com/search_results.html\" target=\"offsite\" rel=\"noopener\">The Beholder\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/battle.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>BILL DUNLAP:\u003c/b> I grew up in a tiny town in Western Maryland, on the edge of the Potomac River, near West Virginia. For some unknown reason, having in the family no artists, art lovers, or even book lovers, I had a great need as a kid to get to the public library often, so that I could sit on the floor and look at the library’s small collection of art books.\u003c/p>\n\u003cp>Some of the things I remember really loving were: the way \u003ca href=\"http://en.wikipedia.org/wiki/J._M._W._Turner\" target=\"offsite\" rel=\"noopener\">JMW Turner\u003c/a> painted skies, the way \u003ca href=\"http://en.wikipedia.org/wiki/Vincent_van_Gogh\" target=\"offsite\" rel=\"noopener\">van Gogh\u003c/a> drew people and animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/George_Grosz\" target=\"offsite\" rel=\"noopener\">George Grosz\u003c/a> drew people as animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/Frida_Kahlo\" target=\"offsite\" rel=\"noopener\">Frida Kahlo\u003c/a> brought so many seemingly unrelated objects to play in one canvas, and \u003ca href=\"http://en.wikipedia.org/wiki/Pablo_Picasso\" target=\"offsite\" rel=\"noopener\">Picasso\u003c/a>, of course, the way he did everything. I was hooked first by modernism, then moved backward through art history. My favorites there at times have been \u003ca href=\"http://en.wikipedia.org/wiki/Pieter_Brueghel_the_Elder\" target=\"offsite\" rel=\"noopener\">Brueghel\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Giotto_di_Bondone\" target=\"offsite\" rel=\"noopener\">Giotto\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Piero_della_Francesca\" target=\"offsite\" rel=\"noopener\">Piero della Francesca\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Francisco_Goya\" target=\"offsite\" rel=\"noopener\">Goya\u003c/a>, and so many anonymous ancient Egyptian, ancient Greek, and medieval European artists.\u003c/p>\n\u003cp>I’ve always had what I felt was some kind of intuitive understanding of the visual arts. There is certainly much I don’t know about visual art, but I never needed to have it taught to me, or to be sold on it. I just eagerly ate it up. \u003c/p>\n\u003cp>All of that was fine, but I wasn’t making my own art in any steady, determined way. That happened later, when I was living in San Francisco. The trigger for that, I think, was \u003ca href=\"http://en.wikipedia.org/wiki/Paul_Klee\" target=\"offsite\" rel=\"noopener\">Paul Klee\u003c/a>. I’ve studied so many of his pieces over time, but if I had to pick just one that really got me started on obsessively making my own work, it might be his 1923 watercolor titled \u003cb>Battle Scene from the Comic Opera ‘The Seafarer’\u003c/b>. That one seems to me to have a lifetime of starting points for art-making. There seem to be so many ideas here about color, line, composition, patterning, geometric shape, archetypal symbols (crosses, blood, the number three), wit, charm, horror, violence, and the great fun to be had in titling a piece. And it’s all executed in a sort of brilliant technique of anti-technique.\u003c/p>\n\u003cp>Klee has had a lasting impact on me, and many of my art-wandering paths have started from something I saw in his work. This has led me into “primitive” art, art done by children, the mentally ill, folk art, and art by self-taught visionaries and outsiders of many different stripes. I think much of what I do now to be a kind of anti-technique anti-art. I’m not exactly sure how I ended up here, but I know Paul Klee had a lot to do with it.\u003c/p>\n\u003cp>In recent years, \u003ca href=\"http://www.billdunlap.com/\" target=\"offsite\" rel=\"noopener\">Bill Dunlap\u003c/a> has been seen in \u003ca href=\"http://www.billdunlap.com/popup/painting_resume.html\" target=\"offsite\" rel=\"noopener\">numerous shows in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/juan.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CAITLIN MITCHELL-DAYTON:\u003c/b> I always knew I was going to be “an artist”; not that I had a particularly well defined idea of what that might actually mean; making pictures, I guess. If there were any real paintings in the Southern California town where I grew up, I didn’t see them. And even when I moved to the Bay Area, the artists that meant the most to me weren’t represented here by real paintings; in other words I knew their work only through reproduction.\u003c/p>\n\u003cp>When I was halfway through graduate school and able to visit the \u003ca href=\"http://www.metmuseum.org/\" target=\"offsite\" rel=\"noopener\">Metropolitan Museum\u003c/a> in Manhattan, I came upon \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Vel%C3%83%C2%A1zquez\" target=\"offsite\" rel=\"noopener\">Diego Velasquez’s\u003c/a> \u003cb>Juan de Pareja\u003c/b>, — which is a weird format, a half-portrait (the standard is either full-length or head shot). I’m short and the heads of Velasquez’ full length portraits tower so far above me that I can’t get the close view of them that I’d like. \u003cb>Juan de Pareja\u003c/b> hangs more or less at my eye level. You can stare right into his face. The sensation of looking at a real person is hypnotic, peculiar, creepy and intoxicating. Juan de Pareja was Velasquez’ assistant — a regular guy. He looks wary, serious, vulnerable and dignified. He is a particular, specific person. And he is entirely aware of being painted.\u003c/p>\n\u003cp>\u003cb>Juan de Pareja\u003c/b> didn’t help me to decide to paint, but it did show me the kind of painting I wanted to make. Without exactly formulating it to myself at the time, I tried to grasp those qualities, which were to some extent and in an unfocused way present or at least being attempted in the work I was making then. Since then, I have used them as benchmarks for every painting I make.\u003c/p>\n\u003cp>Caitlin Mitchell-Dayton received her MFA from the University of California at Berkeley. She has had solo shows at the John Berggruen Gallery and \u003ca href=\"http://www.gallerypauleanglim.com/mitchell_dayton.html\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a>, and her work has been exhibited in the Bay Area at Yerba Buena Center for the Arts, the De Young Museum and SFMOMA, in Los Angeles at the Lizabeth Oliveria Gallery, and in New York at the Drawing Center and in Pierogi 2000’s traveling files. She has been a Visiting Lecturer at the San Francisco Art Institute since 1999. You can also see her on \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=17288\">Gallery Crawl\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/mystery.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>KERRI JOHNSON:\u003c/b> When I was a kid my dad and I would watch public television together, \u003ca href=\"http://www.wgbh.org/\" target=\"offsite\" rel=\"noopener\">WGBH\u003c/a> in Boston. The night would always start with some kind of nature program, followed by \u003cb>Dr. Who\u003c/b> — those were the Tom Baker years, my favorite — and after that I would stay up to watch \u003ca href=\"http://www.youtube.com/watch?v=KxsUiEds8BU\" target=\"offsite\" rel=\"noopener\">the intro for a show\u003c/a> called \u003cb>Mystery!\u003c/b>.\u003c/p>\n\u003cp>The animated intro completely blew me away and I remember thinking the same thing every time I watched it, “why isn’t the entire show done like this?” I was always disappointed when the beautiful, black and white hatch marks would give way to real, stodgy, middle aged British actors.\u003c/p>\n\u003cp>I believe it was the rough elegance of the animation and the “gothic” blackness of the imagery and backgrounds that drew me in, not to mention the underlying dark sense of humor. It was not until I grew a little older and started paying attention to credits that I found out it was the handiwork of \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Gorey\" target=\"offsite\" rel=\"noopener\">Edward Gorey\u003c/a>.\u003c/p>\n\u003cp>As a youngster I would imitate his angular style with a standard black pen in my sketchpad, creating my own foreboding characters as if they were surrogate offspring. I would draw for hours trying to extract the same feeling from my drawings that I would get from seeing Gorey.\u003c/p>\n\u003cp>While my color pallet and drawing style have evolved since those early days, the sinister yet playful sensibility Gorey so beautifully conveyed was an important early influence and it continues to inform my work.\u003c/p>\n\u003cp>I still love to watch the introduction to \u003cb>Mystery!\u003c/b> and I continue to feel that the program would have been far more popular if they had let Edward Gorey write and animate the entire series. I know I would have stayed to watch instead of picking up my sketchpad and going off to bed after the intro ended.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.kerrileejohnson.com/\" target=\"offsite\" rel=\"noopener\">Kerri Johnson\u003c/a> recently had a solo show at \u003ca href=\"httphttp://www.21grand.org/\">21 Grand\u003c/a>. She is director of \u003ca href=\"http://www.blankspacegallery.com/\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A painter can often recall the first painting that truly inspired. Below is the second in a three part series (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\" target=\"offsite\" rel=\"noopener\">read part one\u003c/a>) where Bay Area artists talk about that first love -- the initial painting that moved them to paint.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A painter can often recall the first painting that truly inspired. Below is the second in a three part series (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\" target=\"offsite\" rel=\"noopener\">read part one\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>TIMOTHY BUCKWALTER:\u003c/b> \u003ca href=\"http://www.understandingduchamp.com/\">Marcel Duchamp\u003c/a> knocked me out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/nude.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">I was 17-years-old and visiting a show of painted Dutch tiles at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>. I wandered out of the exhibition, eventually making my way back to the Modern and Contemporary section. I stumbled into Gallery 182 and looked up to see Duchamp’s \u003cb>Nude Descending a Staircase (No. 2)\u003c/b>. I never looked back.\u003c/p>\n\u003cp>Earlier that year, 1983, I had seen a reproduction of Franz Marc’s \u003ca href=\"http://media.walkerart.org/5939480.jpg\" target=\"offsite\" rel=\"noopener\">The Large Blue Horses\u003c/a>. It blew me away. Though it was painted more than 72 years before, to my untrained eye it was like an amazing combination of tattoo art and new wave music. It wore the butch confidence and primitiveness of flash. And the colors seemed so alive I instantly related it to the vibrancy of the music with which I was obsessed. I kept trying to find more.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Der_Blaue_Reiter\" target=\"offsite\" rel=\"noopener\">Marc and the Blue Rider group\u003c/a> — a loosely knit collective of artists that held the then-radical notion of integrating art across media boundaries, so they actively recruited not only painters and sculptors but also musicians, composers, writers, architects, and designers to their ranks — made me realize that art could be as big as life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Duchamp offered something else, a beauty and grace mixed with motion and messiness. There was nowhere on the canvas that wasn’t moving, wasn’t alive. Action and motion lines were exploding everywhere. The figure had a giddiness to it. It was kinda funny and made me think of sex. I couldn’t stop staring.\u003c/p>\n\u003cp>And I wanted a part of it. I wanted to spend my life trying to paint like that.\u003c/p>\n\u003cp>\u003ca href=\"http://timothybuckwalter.typepad.com/\" target=\"offsite\" rel=\"noopener\">Timothy Buckwalter\u003c/a>‘s paintings and drawings are currently the subject of an exhibition at \u003ca href=\"http://www.pharmaka-art.org/\" target=\"offsite\" rel=\"noopener\">Pharmaka Art\u003c/a>. He is represented by Rebecca Ibel Gallery and Braunstein/Quay Gallery. Online his work is represented by \u003ca href=\"http://www.beholder-art.com/search_results.html\" target=\"offsite\" rel=\"noopener\">The Beholder\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/battle.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>BILL DUNLAP:\u003c/b> I grew up in a tiny town in Western Maryland, on the edge of the Potomac River, near West Virginia. For some unknown reason, having in the family no artists, art lovers, or even book lovers, I had a great need as a kid to get to the public library often, so that I could sit on the floor and look at the library’s small collection of art books.\u003c/p>\n\u003cp>Some of the things I remember really loving were: the way \u003ca href=\"http://en.wikipedia.org/wiki/J._M._W._Turner\" target=\"offsite\" rel=\"noopener\">JMW Turner\u003c/a> painted skies, the way \u003ca href=\"http://en.wikipedia.org/wiki/Vincent_van_Gogh\" target=\"offsite\" rel=\"noopener\">van Gogh\u003c/a> drew people and animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/George_Grosz\" target=\"offsite\" rel=\"noopener\">George Grosz\u003c/a> drew people as animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/Frida_Kahlo\" target=\"offsite\" rel=\"noopener\">Frida Kahlo\u003c/a> brought so many seemingly unrelated objects to play in one canvas, and \u003ca href=\"http://en.wikipedia.org/wiki/Pablo_Picasso\" target=\"offsite\" rel=\"noopener\">Picasso\u003c/a>, of course, the way he did everything. I was hooked first by modernism, then moved backward through art history. My favorites there at times have been \u003ca href=\"http://en.wikipedia.org/wiki/Pieter_Brueghel_the_Elder\" target=\"offsite\" rel=\"noopener\">Brueghel\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Giotto_di_Bondone\" target=\"offsite\" rel=\"noopener\">Giotto\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Piero_della_Francesca\" target=\"offsite\" rel=\"noopener\">Piero della Francesca\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Francisco_Goya\" target=\"offsite\" rel=\"noopener\">Goya\u003c/a>, and so many anonymous ancient Egyptian, ancient Greek, and medieval European artists.\u003c/p>\n\u003cp>I’ve always had what I felt was some kind of intuitive understanding of the visual arts. There is certainly much I don’t know about visual art, but I never needed to have it taught to me, or to be sold on it. I just eagerly ate it up. \u003c/p>\n\u003cp>All of that was fine, but I wasn’t making my own art in any steady, determined way. That happened later, when I was living in San Francisco. The trigger for that, I think, was \u003ca href=\"http://en.wikipedia.org/wiki/Paul_Klee\" target=\"offsite\" rel=\"noopener\">Paul Klee\u003c/a>. I’ve studied so many of his pieces over time, but if I had to pick just one that really got me started on obsessively making my own work, it might be his 1923 watercolor titled \u003cb>Battle Scene from the Comic Opera ‘The Seafarer’\u003c/b>. That one seems to me to have a lifetime of starting points for art-making. There seem to be so many ideas here about color, line, composition, patterning, geometric shape, archetypal symbols (crosses, blood, the number three), wit, charm, horror, violence, and the great fun to be had in titling a piece. And it’s all executed in a sort of brilliant technique of anti-technique.\u003c/p>\n\u003cp>Klee has had a lasting impact on me, and many of my art-wandering paths have started from something I saw in his work. This has led me into “primitive” art, art done by children, the mentally ill, folk art, and art by self-taught visionaries and outsiders of many different stripes. I think much of what I do now to be a kind of anti-technique anti-art. I’m not exactly sure how I ended up here, but I know Paul Klee had a lot to do with it.\u003c/p>\n\u003cp>In recent years, \u003ca href=\"http://www.billdunlap.com/\" target=\"offsite\" rel=\"noopener\">Bill Dunlap\u003c/a> has been seen in \u003ca href=\"http://www.billdunlap.com/popup/painting_resume.html\" target=\"offsite\" rel=\"noopener\">numerous shows in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/juan.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CAITLIN MITCHELL-DAYTON:\u003c/b> I always knew I was going to be “an artist”; not that I had a particularly well defined idea of what that might actually mean; making pictures, I guess. If there were any real paintings in the Southern California town where I grew up, I didn’t see them. And even when I moved to the Bay Area, the artists that meant the most to me weren’t represented here by real paintings; in other words I knew their work only through reproduction.\u003c/p>\n\u003cp>When I was halfway through graduate school and able to visit the \u003ca href=\"http://www.metmuseum.org/\" target=\"offsite\" rel=\"noopener\">Metropolitan Museum\u003c/a> in Manhattan, I came upon \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Vel%C3%83%C2%A1zquez\" target=\"offsite\" rel=\"noopener\">Diego Velasquez’s\u003c/a> \u003cb>Juan de Pareja\u003c/b>, — which is a weird format, a half-portrait (the standard is either full-length or head shot). I’m short and the heads of Velasquez’ full length portraits tower so far above me that I can’t get the close view of them that I’d like. \u003cb>Juan de Pareja\u003c/b> hangs more or less at my eye level. You can stare right into his face. The sensation of looking at a real person is hypnotic, peculiar, creepy and intoxicating. Juan de Pareja was Velasquez’ assistant — a regular guy. He looks wary, serious, vulnerable and dignified. He is a particular, specific person. And he is entirely aware of being painted.\u003c/p>\n\u003cp>\u003cb>Juan de Pareja\u003c/b> didn’t help me to decide to paint, but it did show me the kind of painting I wanted to make. Without exactly formulating it to myself at the time, I tried to grasp those qualities, which were to some extent and in an unfocused way present or at least being attempted in the work I was making then. Since then, I have used them as benchmarks for every painting I make.\u003c/p>\n\u003cp>Caitlin Mitchell-Dayton received her MFA from the University of California at Berkeley. She has had solo shows at the John Berggruen Gallery and \u003ca href=\"http://www.gallerypauleanglim.com/mitchell_dayton.html\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a>, and her work has been exhibited in the Bay Area at Yerba Buena Center for the Arts, the De Young Museum and SFMOMA, in Los Angeles at the Lizabeth Oliveria Gallery, and in New York at the Drawing Center and in Pierogi 2000’s traveling files. She has been a Visiting Lecturer at the San Francisco Art Institute since 1999. You can also see her on \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=17288\">Gallery Crawl\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/mystery.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>KERRI JOHNSON:\u003c/b> When I was a kid my dad and I would watch public television together, \u003ca href=\"http://www.wgbh.org/\" target=\"offsite\" rel=\"noopener\">WGBH\u003c/a> in Boston. The night would always start with some kind of nature program, followed by \u003cb>Dr. Who\u003c/b> — those were the Tom Baker years, my favorite — and after that I would stay up to watch \u003ca href=\"http://www.youtube.com/watch?v=KxsUiEds8BU\" target=\"offsite\" rel=\"noopener\">the intro for a show\u003c/a> called \u003cb>Mystery!\u003c/b>.\u003c/p>\n\u003cp>The animated intro completely blew me away and I remember thinking the same thing every time I watched it, “why isn’t the entire show done like this?” I was always disappointed when the beautiful, black and white hatch marks would give way to real, stodgy, middle aged British actors.\u003c/p>\n\u003cp>I believe it was the rough elegance of the animation and the “gothic” blackness of the imagery and backgrounds that drew me in, not to mention the underlying dark sense of humor. It was not until I grew a little older and started paying attention to credits that I found out it was the handiwork of \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Gorey\" target=\"offsite\" rel=\"noopener\">Edward Gorey\u003c/a>.\u003c/p>\n\u003cp>As a youngster I would imitate his angular style with a standard black pen in my sketchpad, creating my own foreboding characters as if they were surrogate offspring. I would draw for hours trying to extract the same feeling from my drawings that I would get from seeing Gorey.\u003c/p>\n\u003cp>While my color pallet and drawing style have evolved since those early days, the sinister yet playful sensibility Gorey so beautifully conveyed was an important early influence and it continues to inform my work.\u003c/p>\n\u003cp>I still love to watch the introduction to \u003cb>Mystery!\u003c/b> and I continue to feel that the program would have been far more popular if they had let Edward Gorey write and animate the entire series. I know I would have stayed to watch instead of picking up my sketchpad and going off to bed after the intro ended.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kerrileejohnson.com/\" target=\"offsite\" rel=\"noopener\">Kerri Johnson\u003c/a> recently had a solo show at \u003ca href=\"httphttp://www.21grand.org/\">21 Grand\u003c/a>. She is director of \u003ca href=\"http://www.blankspacegallery.com/\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Art and Flair of Mary Blair",
"headTitle": "The Art and Flair of Mary Blair | KQED",
"content": "\u003cp>Mary Blair left the world thirty years ago, but her artful illustrations have characterized generations of childhood memories. She was one of Walt Disney’s favorite artists and was among a group who accompanied him on a post-WWII, government funded tour of Central and South America in 1941. The Goodwill tour aimed to help soften international perceptions of America through the majesty of Mickey Mouse. Inspired by the cultural landscape of Latin America, Blair’s artistic style evolved, and the drawings she created while traveling were used for lesser-known Disney films such as \u003cb>The Three Caballeros\u003c/b> and \u003ca href=\"http://disney.go.com/vault/archives/movies/amigos/amigos.html\" target=\"offsite\" rel=\"noopener\">Saludos Amigos\u003c/a>. \u003cb>The Art and Flair of Mary Blair\u003c/b>, a retrospective of her work, is currently on view at the Cartoon Art Museum in downtown San Francisco.\u003c/p>\n\u003cp>Like many artists, Mary Blair and her husband, Lee, couldn’t make ends meet as fine artists, so they turned to the commercial art industry. Mary was one of Disney’s first female concept artists, and her original watercolor and gouache paintings hold a rarely revealed secret: much of the typical Disney imagery starts out far less cookie-cutter than it ends up. Blair’s original concepts had some Disney-esque charm, but they were edgier, with more personality and flavor. They began artfully, but got the life sucked out of them as they were squeezed through the Disney mold. Walt Disney loved Blair’s artwork but also thought his audience needed to be comforted by the familiarity of his films’ characters, so he continued to force her concepts through the Disney machine.\u003c/p>\n\u003cp>The same was true for non-Disney projects, an example being a concept Blair created for a Pall Mall cigarettes advertisement. The final print copy was only loosely based on her original sketch, which made cigarettes look like a pleasant item you’d find in a picnic basket. Though it’s no secret that concept art incurs some changes along the production line, it is surprising to see how some of the most artistic elements get edited out.\u003c/p>\n\u003cp>In 1964, Disney’s \u003cb>It’s a Small World\u003c/b> attraction debuted at The World’s Fair alongside the less popular audio-animatronic Abraham Lincoln. Blair was chosen as the designer for \u003cb>It’s a Small World\u003c/b>, and she happily mocked up the design using detailed collage techniques, wallpaper, and acrylic paint. Besides developing concepts and art direction for Disney, Blair also illustrated titles for the \u003ca href=\"http://en.wikipedia.org/wiki/Little_Golden_Books\" target=\"offsite\" rel=\"noopener\">Little Golden Books\u003c/a> series that so many of us loved as children. But, beyond the world of cute, Blair was a talented watercolorist. One of the best parts of the exhibit at the Cartoon Art Museum is that it ends with a dark, brooding painting of city streets called \u003cb>San Francisco Nights\u003c/b>.\u003c/p>\n\u003cp>If you’ve never been to the Cartoon Art Museum, now is the time. It’s nestled in the Yerba Buena corridor with many other arts and culture venues and does a great job of highlighting the unsung artists behind animation and comic art. A small warning for our family audiences — while Mary Blair’s exhibit in the front gallery is friendly for kids, the \u003cb>Sex and Sensibility\u003c/b> exhibit in the back gallery is not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Art and Flair of Mary Blair\u003c/b> is at the Cartoon Art Museum in San Francisco through March 30, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Blair left the world thirty years ago, but her artful illustrations have characterized generations of childhood memories. She was one of Walt Disney’s favorite artists and was among a group who accompanied him on a post-WWII, government funded tour of Central and South America in 1941. The Goodwill tour aimed to help soften international perceptions of America through the majesty of Mickey Mouse. Inspired by the cultural landscape of Latin America, Blair’s artistic style evolved, and the drawings she created while traveling were used for lesser-known Disney films such as \u003cb>The Three Caballeros\u003c/b> and \u003ca href=\"http://disney.go.com/vault/archives/movies/amigos/amigos.html\" target=\"offsite\" rel=\"noopener\">Saludos Amigos\u003c/a>. \u003cb>The Art and Flair of Mary Blair\u003c/b>, a retrospective of her work, is currently on view at the Cartoon Art Museum in downtown San Francisco.\u003c/p>\n\u003cp>Like many artists, Mary Blair and her husband, Lee, couldn’t make ends meet as fine artists, so they turned to the commercial art industry. Mary was one of Disney’s first female concept artists, and her original watercolor and gouache paintings hold a rarely revealed secret: much of the typical Disney imagery starts out far less cookie-cutter than it ends up. Blair’s original concepts had some Disney-esque charm, but they were edgier, with more personality and flavor. They began artfully, but got the life sucked out of them as they were squeezed through the Disney mold. Walt Disney loved Blair’s artwork but also thought his audience needed to be comforted by the familiarity of his films’ characters, so he continued to force her concepts through the Disney machine.\u003c/p>\n\u003cp>The same was true for non-Disney projects, an example being a concept Blair created for a Pall Mall cigarettes advertisement. The final print copy was only loosely based on her original sketch, which made cigarettes look like a pleasant item you’d find in a picnic basket. Though it’s no secret that concept art incurs some changes along the production line, it is surprising to see how some of the most artistic elements get edited out.\u003c/p>\n\u003cp>In 1964, Disney’s \u003cb>It’s a Small World\u003c/b> attraction debuted at The World’s Fair alongside the less popular audio-animatronic Abraham Lincoln. Blair was chosen as the designer for \u003cb>It’s a Small World\u003c/b>, and she happily mocked up the design using detailed collage techniques, wallpaper, and acrylic paint. Besides developing concepts and art direction for Disney, Blair also illustrated titles for the \u003ca href=\"http://en.wikipedia.org/wiki/Little_Golden_Books\" target=\"offsite\" rel=\"noopener\">Little Golden Books\u003c/a> series that so many of us loved as children. But, beyond the world of cute, Blair was a talented watercolorist. One of the best parts of the exhibit at the Cartoon Art Museum is that it ends with a dark, brooding painting of city streets called \u003cb>San Francisco Nights\u003c/b>.\u003c/p>\n\u003cp>If you’ve never been to the Cartoon Art Museum, now is the time. It’s nestled in the Yerba Buena corridor with many other arts and culture venues and does a great job of highlighting the unsung artists behind animation and comic art. A small warning for our family audiences — while Mary Blair’s exhibit in the front gallery is friendly for kids, the \u003cb>Sex and Sensibility\u003c/b> exhibit in the back gallery is not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Church, Homer and Moran: Tourism and the American Landscape",
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"content": "\u003cp>On the last wall in the last room of the Cooper-Hewitt organized \u003cb>Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape\u003c/b>, on view through May 4, 2008 at the Cantor Arts Center, there hangs an enormous reproduction of a painting of Niagara Falls by Frederic Edwin Church. The outsize scale of this banner is no doubt meant to give visitors to the Cantor a taste of the magnitude of the falls themselves. Indeed, after walking through several rooms of mostly small oils, works on paper, and scraps of historical ephemera in display cases, this heroic vision of Niagara is downright vertigo inducing. The actual 1857 painting that was used as the source for the banner is not in the Stanford exhibition (it is enshrined at the Corcoran in Washington, D.C.), but Church churned out so many views of Niagara Falls that this minor curatorial detail is really not that important. No, the most interesting thing about both the painting and its reproduction is what they do not show.\u003c/p>\n\u003cp>We tend to think of the tourist trap as a relatively recent scourge, but way back in 1850 many people believed that tourism had already ruined Niagara Falls. Travel writers complained of the tackiness of the businesses that had sprung up around it; committees were organized to save the natural wonder. Yet Church’s undeniably glorious painting, as well as the many smaller works at the Cantor that depict the falls in different seasons and from different angles, are magically devoid of the thundering, uncouth hordes, even though those hordes were all too present at the time.\u003c/p>\n\u003cp>Church’s Niagara is a pristine place, captured in a state of innocent magnificence, as if he had stumbled upon the cascade by chance. In truth, Church was deliberately presenting the falls at their best in order to enhance both the reputation of the place as a world-class destination and his reputation as an artist. Art was used to refute the perception, accurate though it may have been, that Niagara Falls had been the victim of its own tremendous popularity. Church made pictures that elevated the Niagara Falls of the day to the level of the Niagara Falls that used to be, which in turn validated the natural landmark’s importance in the eyes of the public and perpetuated its reputation in the popular imagination as a singular, iconic place that was well worth a visit. Not surprisingly, artists like Church, who used their gifts to give a bit of high-art polish to beloved but overrun places like Niagara Falls, saw their stature and careers bloom.\u003c/p>\n\u003cp>Out West a different story needed to be told, and once again fine art was used to tell it. The problem was not to convince a skeptical populace that the place was not overrun; its reputation for desolateness was legion. Rather, the assignment was to entice settlers and tourists alike to see for themselves this rugged land of biblically deep canyons, boiling geysers fired by the underworld, and mountains halved by the hand of God.\u003c/p>\n\u003cp>It took an Englishman named Thomas Moran to visually tame the West, which he did beginning in the 1870s. Like Church, Moran idealized his subjects, focusing on the signature features of the Grand Canyon (its steep, water-carved walls), Yellowstone (its mud pots and geysers), and Yosemite (its sheer granite faces and jutting protrusions). Though perhaps best known for his work at the Grand Canyon (by 1909, the Santa Fe Railroad was running ads that featured Moran at work there, on the assumption that where he went to paint, the common folk would follow), it is his eye for detail in Yosemite that I find most intriguing. In particular, Moran seized on the profile of Half Dome as a recurring subject in his work. Certainly he was not the only artist to notice and fall in love with the shape of what is arguably the park’s most famous formation, but Moran romanced it more than most, paving the way for its place as the official logo of Yosemite today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To my eye, Winslow Homer is not as neat a fit in this exhibition as Church and Moran, although as a magazine illustrator who accepted commissions and met deadlines, he must have been as pragmatic a publicist as his peers. The problem — if you can call it that — with Homer is that he’s just too good an artist for me to care all that much about why he did what he did. Even a painting as ostensibly ordinary as the lush and gauzy \u003cb>Two Girls with Sunbonnets in a Field\u003c/b>, 1877-78, projects an air of almost subversive mystery. Homer can, but generally refuses to, play it entirely straight. For example, in \u003cb>Sunbonnets\u003c/b> one girl faces us directly, but Homer hides her features behind layers of paint and deliberately careless brush strokes. Other pictures are equally stingy with their details: \u003cb>Storm Coming\u003c/b> from 1884 conveys its sense of urgency via nothing more than the hurried scribbles of chalk on paper. At the bottom of the sheet, a solitary stick figure runs through an open field in a vain attempt to find shelter from the indistinct, but clearly oncoming, onslaught. Homer isn’t selling anything here, but I’m definitely buying.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape\u003c/b> continues at Cantor Arts Center through May 4, 2008. Lomita Drive and Museum Way, Stanford, (650) 723-4177. Admission is free; closed Mondays and Tuesdays.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the last wall in the last room of the Cooper-Hewitt organized \u003cb>Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape\u003c/b>, on view through May 4, 2008 at the Cantor Arts Center, there hangs an enormous reproduction of a painting of Niagara Falls by Frederic Edwin Church. The outsize scale of this banner is no doubt meant to give visitors to the Cantor a taste of the magnitude of the falls themselves. Indeed, after walking through several rooms of mostly small oils, works on paper, and scraps of historical ephemera in display cases, this heroic vision of Niagara is downright vertigo inducing. The actual 1857 painting that was used as the source for the banner is not in the Stanford exhibition (it is enshrined at the Corcoran in Washington, D.C.), but Church churned out so many views of Niagara Falls that this minor curatorial detail is really not that important. No, the most interesting thing about both the painting and its reproduction is what they do not show.\u003c/p>\n\u003cp>We tend to think of the tourist trap as a relatively recent scourge, but way back in 1850 many people believed that tourism had already ruined Niagara Falls. Travel writers complained of the tackiness of the businesses that had sprung up around it; committees were organized to save the natural wonder. Yet Church’s undeniably glorious painting, as well as the many smaller works at the Cantor that depict the falls in different seasons and from different angles, are magically devoid of the thundering, uncouth hordes, even though those hordes were all too present at the time.\u003c/p>\n\u003cp>Church’s Niagara is a pristine place, captured in a state of innocent magnificence, as if he had stumbled upon the cascade by chance. In truth, Church was deliberately presenting the falls at their best in order to enhance both the reputation of the place as a world-class destination and his reputation as an artist. Art was used to refute the perception, accurate though it may have been, that Niagara Falls had been the victim of its own tremendous popularity. Church made pictures that elevated the Niagara Falls of the day to the level of the Niagara Falls that used to be, which in turn validated the natural landmark’s importance in the eyes of the public and perpetuated its reputation in the popular imagination as a singular, iconic place that was well worth a visit. Not surprisingly, artists like Church, who used their gifts to give a bit of high-art polish to beloved but overrun places like Niagara Falls, saw their stature and careers bloom.\u003c/p>\n\u003cp>Out West a different story needed to be told, and once again fine art was used to tell it. The problem was not to convince a skeptical populace that the place was not overrun; its reputation for desolateness was legion. Rather, the assignment was to entice settlers and tourists alike to see for themselves this rugged land of biblically deep canyons, boiling geysers fired by the underworld, and mountains halved by the hand of God.\u003c/p>\n\u003cp>It took an Englishman named Thomas Moran to visually tame the West, which he did beginning in the 1870s. Like Church, Moran idealized his subjects, focusing on the signature features of the Grand Canyon (its steep, water-carved walls), Yellowstone (its mud pots and geysers), and Yosemite (its sheer granite faces and jutting protrusions). Though perhaps best known for his work at the Grand Canyon (by 1909, the Santa Fe Railroad was running ads that featured Moran at work there, on the assumption that where he went to paint, the common folk would follow), it is his eye for detail in Yosemite that I find most intriguing. In particular, Moran seized on the profile of Half Dome as a recurring subject in his work. Certainly he was not the only artist to notice and fall in love with the shape of what is arguably the park’s most famous formation, but Moran romanced it more than most, paving the way for its place as the official logo of Yosemite today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To my eye, Winslow Homer is not as neat a fit in this exhibition as Church and Moran, although as a magazine illustrator who accepted commissions and met deadlines, he must have been as pragmatic a publicist as his peers. The problem — if you can call it that — with Homer is that he’s just too good an artist for me to care all that much about why he did what he did. Even a painting as ostensibly ordinary as the lush and gauzy \u003cb>Two Girls with Sunbonnets in a Field\u003c/b>, 1877-78, projects an air of almost subversive mystery. Homer can, but generally refuses to, play it entirely straight. For example, in \u003cb>Sunbonnets\u003c/b> one girl faces us directly, but Homer hides her features behind layers of paint and deliberately careless brush strokes. Other pictures are equally stingy with their details: \u003cb>Storm Coming\u003c/b> from 1884 conveys its sense of urgency via nothing more than the hurried scribbles of chalk on paper. At the bottom of the sheet, a solitary stick figure runs through an open field in a vain attempt to find shelter from the indistinct, but clearly oncoming, onslaught. Homer isn’t selling anything here, but I’m definitely buying.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape\u003c/b> continues at Cantor Arts Center through May 4, 2008. Lomita Drive and Museum Way, Stanford, (650) 723-4177. Admission is free; closed Mondays and Tuesdays.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christine Wong Yap: Activist Imagination",
"headTitle": "Christine Wong Yap: Activist Imagination | KQED",
"content": "\u003cp>Having worked in the “community arts” for nearly a decade, I’m familiar with the frustration of “political” and “ethnic” artists. The moneyed, mainstream international arts scene places aesthetics and formal issues far above content. Even if this weren’t so, any political or identity content in art makes the work — and the artist — automatically suspect.\u003c/p>\n\u003cp>Those of artist Christine Wong Yap’s Asian American contemporaries who are making a splash in more mainstream venues tend to come out of conceptualism. Wong Yap’s reputation in the community, however, was originally made in the \u003ca target=\"offsite\" href=\"http://christinewongyap.com/work/2004andprior/community.html\" rel=\"noopener\">traditional forms of “activist” art\u003c/a>: socialist-realist-influenced graphics, screenprinting, muralism, flyers, t-shirts, and buttons. In fact, my own history with the artist comes from her work creating graphics for, and contributing paintings to, Asian American community exhibitions with a distinctly racial-power flavor.\u003c/p>\n\u003cp>For such an artist to make a turn into pure conceptualism can be jarring. Wong Yap, who recently graduated from an MFA program at CCA, and has been experimenting with conceptualism for years, still gets requests to produce murals from bewildered community arts administrators. Under a particular gun to explain herself, she is taking advantage of the project \u003cb>Activist Imagination\u003c/b>, currently exhibiting at Kearny Street Workshop, to show off the state of her art.\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b>, an examination of “activist art” in a context of artistic pluralism, is a collaboration between Wong Yap, longtime community activist and photographer \u003ca href=\"http://www.bobhsiangphoto.com/\" target=\"offsite\" rel=\"noopener\">Bob Hsiang\u003c/a>, and conceptual “activist artist” \u003ca href=\"http://www.well.com/user/indigo/donna/art/\" target=\"offsite\" rel=\"noopener\">Donna Keiko Ozawa\u003c/a>. The show was commissioned by the Creative Work Fund, and involves both a \u003ca target=\"offsite\" href=\"http://kearnystreet.wordpress.com/category/activist-imagination/\" rel=\"noopener\">blog\u003c/a> and an ongoing series of public panels on topics related to Asian American activism and arts practice. As part of the project, the artists were given access to Kearny Street Workshop’s archives, including over thirty-five years’ worth of screenprinted posters.\u003c/p>\n\u003cp>The process by which the artists arrived at their collaboration is still somewhat opaque to me, but the result is confusing. If there is dialogue here, I can’t hear it. For Hsiang’s straightforward piece using art to document activism, the artist has produced a new series of color photo portraits of local community activists, and installed them in an irregular grid, each next to a single artifact meaningful to the activist portrayed. Ozawa’s work comprises three thematically unrelated sculptures, each involving sound: a miniature house on a crank containing a sheep-sound can, a buddha-sculpture containing a radio tuned to the weather channel, and a doorway wired to a sound installation that was not yet up and running by the opening reception.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of Wong Yap’s four pieces, two seem unrelated to the exhibition’s subject matter. “The Best Person I Can Be” is a darkened room featuring a two-way mirror, inviting viewers to examine their own and their neighbors’ vanity and desire for self-improvement. Her “Untitled” site-specific window intervention is a simple series of dark filters over the gallery’s outside windows, with eye-hole cutouts covered in gels of a variety of colors. While it’s fun looking through the mirror, and testing out the Monet-like effects the various color filters have on Capp Street below, I’m unable to tease out a strong connection to the activist theme of the show. The lack of context within the scope of the exhibition weakens the theme of transparency and perspective Wong Yap has running through all four pieces.\u003c/p>\n\u003cp>More relevant to the show is the display of digital reproductions of historical Kearny Street Workshop screenprinted posters installed on the landing outside the gallery. Wong Yap’s only commentary here is a pink gel over the lights, which casts a semi-ironic, rose-colored glow on the posters.\u003c/p>\n\u003cp>“Seeing Red” is Wong Yap’s strongest and most outspoken piece here. She has screenprinted cutout lines for 3-D-style glasses onto a series of paper strips, and covered the eyeholes with lenses made of rubylith, a transparent red material used in screenprinting. Each of the strips containing the glasses is series-numbered, but attendees aren’t necessarily meant to notice, and she offers a pair of scissors to enable them to cut off the part of the piece that would cement its value as an art object. The rubylith material, not intended for use as a lens, fogs and obscures vision, offering instead a blurry “red” view of the world — the distortion of perspective created by constant anger. \u003c/p>\n\u003cp>At the opening, the viewers’ eagerness to cut out and wear the glasses began to appear like an indictment of thoughtless activists, so eager to put on the distorting lenses of political anger that they would destroy an art object; so anxious for feel-good functionality that they would ruin aesthetics. The screenprinting, and its material, mockingly invokes one of activist art’s most fetishized media. Taking the various subtle elements of the piece together, “Seeing Red” produces an impression of surprising hostility to the attitudes and practices of more traditional activist artists, and indeed to Wong Yap’s own earlier work.\u003c/p>\n\u003cp>I can, at times, be similarly weary of the relentless celebration community art organizations engage in when they examine activist art. And I am acutely aware that the tension between polemical and avant garde aesthetics does not push virtue or social value entirely over to the left side. But I’m a bit stumped by Wong Yap’s hostility, even while I find it by far the most interesting result of this project. She has outlined her position on the project blog in a post entitled “\u003ca href=\"http://kearnystreet.wordpress.com/2007/12/30/why-i-am-not-making-activist-art-for-activist-imagination/\" target=\"offsite\" rel=\"noopener\">Why I Am Not Making Activist Art for Activist Imagination\u003c/a>,” but I remain stumped.\u003c/p>\n\u003cp>Ultimately, Wong Yap’s work in \u003cb>Activist Imagination\u003c/b> is not activist art but a critique of activist art. As such, she is the artist in this exhibition who engages most strongly with the topic at hand, while openly repudiating it. If nothing else, \u003cb>Activist Imagination\u003c/b> is instructive as a document of an artist in a moment of transition, and at war with her previous sensibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b> runs through May 24, 2008 at Kearny Street Workshop in San Francisco . \u003cb>Activist Imagination\u003c/b> public discussions will take place March 27 and April 24, 2008 at 7pm. For photographs of the work from the \u003cb>Activist Imagination\u003c/b> opening, visit \u003ca target=\"offsite\" href=\"http://www.mochamonkey.com/week/080229_ksw/index.html\" rel=\"noopener\">mochamonkey.com</a. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Having worked in the “community arts” for nearly a decade, I’m familiar with the frustration of “political” and “ethnic” artists. The moneyed, mainstream international arts scene places aesthetics and formal issues far above content. Even if this weren’t so, any political or identity content in art makes the work — and the artist — automatically suspect.\u003c/p>\n\u003cp>Those of artist Christine Wong Yap’s Asian American contemporaries who are making a splash in more mainstream venues tend to come out of conceptualism. Wong Yap’s reputation in the community, however, was originally made in the \u003ca target=\"offsite\" href=\"http://christinewongyap.com/work/2004andprior/community.html\" rel=\"noopener\">traditional forms of “activist” art\u003c/a>: socialist-realist-influenced graphics, screenprinting, muralism, flyers, t-shirts, and buttons. In fact, my own history with the artist comes from her work creating graphics for, and contributing paintings to, Asian American community exhibitions with a distinctly racial-power flavor.\u003c/p>\n\u003cp>For such an artist to make a turn into pure conceptualism can be jarring. Wong Yap, who recently graduated from an MFA program at CCA, and has been experimenting with conceptualism for years, still gets requests to produce murals from bewildered community arts administrators. Under a particular gun to explain herself, she is taking advantage of the project \u003cb>Activist Imagination\u003c/b>, currently exhibiting at Kearny Street Workshop, to show off the state of her art.\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b>, an examination of “activist art” in a context of artistic pluralism, is a collaboration between Wong Yap, longtime community activist and photographer \u003ca href=\"http://www.bobhsiangphoto.com/\" target=\"offsite\" rel=\"noopener\">Bob Hsiang\u003c/a>, and conceptual “activist artist” \u003ca href=\"http://www.well.com/user/indigo/donna/art/\" target=\"offsite\" rel=\"noopener\">Donna Keiko Ozawa\u003c/a>. The show was commissioned by the Creative Work Fund, and involves both a \u003ca target=\"offsite\" href=\"http://kearnystreet.wordpress.com/category/activist-imagination/\" rel=\"noopener\">blog\u003c/a> and an ongoing series of public panels on topics related to Asian American activism and arts practice. As part of the project, the artists were given access to Kearny Street Workshop’s archives, including over thirty-five years’ worth of screenprinted posters.\u003c/p>\n\u003cp>The process by which the artists arrived at their collaboration is still somewhat opaque to me, but the result is confusing. If there is dialogue here, I can’t hear it. For Hsiang’s straightforward piece using art to document activism, the artist has produced a new series of color photo portraits of local community activists, and installed them in an irregular grid, each next to a single artifact meaningful to the activist portrayed. Ozawa’s work comprises three thematically unrelated sculptures, each involving sound: a miniature house on a crank containing a sheep-sound can, a buddha-sculpture containing a radio tuned to the weather channel, and a doorway wired to a sound installation that was not yet up and running by the opening reception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of Wong Yap’s four pieces, two seem unrelated to the exhibition’s subject matter. “The Best Person I Can Be” is a darkened room featuring a two-way mirror, inviting viewers to examine their own and their neighbors’ vanity and desire for self-improvement. Her “Untitled” site-specific window intervention is a simple series of dark filters over the gallery’s outside windows, with eye-hole cutouts covered in gels of a variety of colors. While it’s fun looking through the mirror, and testing out the Monet-like effects the various color filters have on Capp Street below, I’m unable to tease out a strong connection to the activist theme of the show. The lack of context within the scope of the exhibition weakens the theme of transparency and perspective Wong Yap has running through all four pieces.\u003c/p>\n\u003cp>More relevant to the show is the display of digital reproductions of historical Kearny Street Workshop screenprinted posters installed on the landing outside the gallery. Wong Yap’s only commentary here is a pink gel over the lights, which casts a semi-ironic, rose-colored glow on the posters.\u003c/p>\n\u003cp>“Seeing Red” is Wong Yap’s strongest and most outspoken piece here. She has screenprinted cutout lines for 3-D-style glasses onto a series of paper strips, and covered the eyeholes with lenses made of rubylith, a transparent red material used in screenprinting. Each of the strips containing the glasses is series-numbered, but attendees aren’t necessarily meant to notice, and she offers a pair of scissors to enable them to cut off the part of the piece that would cement its value as an art object. The rubylith material, not intended for use as a lens, fogs and obscures vision, offering instead a blurry “red” view of the world — the distortion of perspective created by constant anger. \u003c/p>\n\u003cp>At the opening, the viewers’ eagerness to cut out and wear the glasses began to appear like an indictment of thoughtless activists, so eager to put on the distorting lenses of political anger that they would destroy an art object; so anxious for feel-good functionality that they would ruin aesthetics. The screenprinting, and its material, mockingly invokes one of activist art’s most fetishized media. Taking the various subtle elements of the piece together, “Seeing Red” produces an impression of surprising hostility to the attitudes and practices of more traditional activist artists, and indeed to Wong Yap’s own earlier work.\u003c/p>\n\u003cp>I can, at times, be similarly weary of the relentless celebration community art organizations engage in when they examine activist art. And I am acutely aware that the tension between polemical and avant garde aesthetics does not push virtue or social value entirely over to the left side. But I’m a bit stumped by Wong Yap’s hostility, even while I find it by far the most interesting result of this project. She has outlined her position on the project blog in a post entitled “\u003ca href=\"http://kearnystreet.wordpress.com/2007/12/30/why-i-am-not-making-activist-art-for-activist-imagination/\" target=\"offsite\" rel=\"noopener\">Why I Am Not Making Activist Art for Activist Imagination\u003c/a>,” but I remain stumped.\u003c/p>\n\u003cp>Ultimately, Wong Yap’s work in \u003cb>Activist Imagination\u003c/b> is not activist art but a critique of activist art. As such, she is the artist in this exhibition who engages most strongly with the topic at hand, while openly repudiating it. If nothing else, \u003cb>Activist Imagination\u003c/b> is instructive as a document of an artist in a moment of transition, and at war with her previous sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b> runs through May 24, 2008 at Kearny Street Workshop in San Francisco . \u003cb>Activist Imagination\u003c/b> public discussions will take place March 27 and April 24, 2008 at 7pm. For photographs of the work from the \u003cb>Activist Imagination\u003c/b> opening, visit \u003ca target=\"offsite\" href=\"http://www.mochamonkey.com/week/080229_ksw/index.html\" rel=\"noopener\">mochamonkey.com</a. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I have never been to Mexico City, but I grew up in Taipei and believe that all colonial cities share a certain family resemblance. They have the same architecture, the same bones — broad flat allées to welcome triumphant conquerors, squares and plazas modeled on European antecedents, baroque administrative buildings with formal gardens, botanical gardens and zoological parks — and the same hodgepodge of languages, borrowed and native.\u003c/p>\n\u003cp>Enrique Chagoya, the star of the Berkeley Art Museum’s \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/chagoya\" target=\"offsite\" rel=\"noopener\"> Borderlandia\u003c/a>, was born in Mexico City, an environment that, as the show’s curator writes, is “filled with the ‘parallel experiences’ of disconnected cultures.”\u003c/p>\n\u003cp>Chagoya’s subject matter — kitschy images of Superman mingling with Catholic, Aztec, and Mayan imagery — belongs to the realm of feverish nightmares, and is most powerful on an intimate scale, as quick visual pulses reminiscent of late night channel surfing. The hapless viewer might uncover a disturbing mix of tele-evangelism, action movies, infomercials, and forgotten old movies starring long-dead stars. So, too, in Chagoya’s codices, we might encounter a voluptuous maiden and a Mayan god, locked in some strange and inexplicable visual embrace.\u003c/p>\n\u003cp>On \u003cb>Borderlandia\u003c/b>‘s opening night, the Berkeley Art Museum was filled with Berkeley’s old guard. Tweedy professors mingled alongside well-heeled museum donors, and art dealers circulated through the galleries. They took in Chagoya’s critiques of capitalist ideology and imperialism, while nibbling on paté and foie gras. Above the crowd, I could see a single Chagoya charcoal of a little girl cowering beneath a massive gloved hand.\u003c/p>\n\u003cp>I like Chagoya best when he works on a small scale. A fine draftsman, he can draw with a delicate and sensitive line, and his codices (book-size accordions, based on Aztec illustrated books) showcase his skill with color and line. Chagoya’s color palette is at times vivid, almost lurid, and at times so quiet as to be grisaille. These codices reward patience and sustained attention.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The larger images move too quickly, lacking the layered richness of the codices. We can write volumes of theory around Chagoya’s work — taut hybridity, globalization, and all kinds of other hip phrases spring to mind — but the large pieces are emotionally and aesthetically unsatisfying. The codex format allows Chagoya to write in paragraphs, creating inventive relationships between various iconic images. The large paintings focus on one or two symbols (Mickey Mouse, Ronald Reagan, skulls, cowboy hats), and feel more like catchphrases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those of us who grew up straddling cultures, Chagoya’s \u003cb>Adventures of the Enlightened Cannibal\u003c/b> (2002) or his \u003cb>Codex Cosmovisionarius\u003c/b> (2006) simply formalize our strange visual milieu. For us, there can be no pure “core,” no culture untouched by another. As a child, I leapt, confused, from Odysseus to the Monkey King to Superman to the Terminator, caught in a mishmash of names and cultures. I imagine that Chagoya must have had similar experiences. As children of the borderlands, do we ever know who we are, or what language to speak? Chagoya describes this state, not as tragedy, but as farce.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have never been to Mexico City, but I grew up in Taipei and believe that all colonial cities share a certain family resemblance. They have the same architecture, the same bones — broad flat allées to welcome triumphant conquerors, squares and plazas modeled on European antecedents, baroque administrative buildings with formal gardens, botanical gardens and zoological parks — and the same hodgepodge of languages, borrowed and native.\u003c/p>\n\u003cp>Enrique Chagoya, the star of the Berkeley Art Museum’s \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/chagoya\" target=\"offsite\" rel=\"noopener\"> Borderlandia\u003c/a>, was born in Mexico City, an environment that, as the show’s curator writes, is “filled with the ‘parallel experiences’ of disconnected cultures.”\u003c/p>\n\u003cp>Chagoya’s subject matter — kitschy images of Superman mingling with Catholic, Aztec, and Mayan imagery — belongs to the realm of feverish nightmares, and is most powerful on an intimate scale, as quick visual pulses reminiscent of late night channel surfing. The hapless viewer might uncover a disturbing mix of tele-evangelism, action movies, infomercials, and forgotten old movies starring long-dead stars. So, too, in Chagoya’s codices, we might encounter a voluptuous maiden and a Mayan god, locked in some strange and inexplicable visual embrace.\u003c/p>\n\u003cp>On \u003cb>Borderlandia\u003c/b>‘s opening night, the Berkeley Art Museum was filled with Berkeley’s old guard. Tweedy professors mingled alongside well-heeled museum donors, and art dealers circulated through the galleries. They took in Chagoya’s critiques of capitalist ideology and imperialism, while nibbling on paté and foie gras. Above the crowd, I could see a single Chagoya charcoal of a little girl cowering beneath a massive gloved hand.\u003c/p>\n\u003cp>I like Chagoya best when he works on a small scale. A fine draftsman, he can draw with a delicate and sensitive line, and his codices (book-size accordions, based on Aztec illustrated books) showcase his skill with color and line. Chagoya’s color palette is at times vivid, almost lurid, and at times so quiet as to be grisaille. These codices reward patience and sustained attention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The larger images move too quickly, lacking the layered richness of the codices. We can write volumes of theory around Chagoya’s work — taut hybridity, globalization, and all kinds of other hip phrases spring to mind — but the large pieces are emotionally and aesthetically unsatisfying. The codex format allows Chagoya to write in paragraphs, creating inventive relationships between various iconic images. The large paintings focus on one or two symbols (Mickey Mouse, Ronald Reagan, skulls, cowboy hats), and feel more like catchphrases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those of us who grew up straddling cultures, Chagoya’s \u003cb>Adventures of the Enlightened Cannibal\u003c/b> (2002) or his \u003cb>Codex Cosmovisionarius\u003c/b> (2006) simply formalize our strange visual milieu. For us, there can be no pure “core,” no culture untouched by another. As a child, I leapt, confused, from Odysseus to the Monkey King to Superman to the Terminator, caught in a mishmash of names and cultures. I imagine that Chagoya must have had similar experiences. As children of the borderlands, do we ever know who we are, or what language to speak? Chagoya describes this state, not as tragedy, but as farce.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most Chinese translations of American city names are phonetic. The Chinese word for New York sounds very similar to the American way of saying “New York.” San Francisco, however, is unique. In Mandarin, it is called Jiu Jin Shan, or Old Gold Mountain, in reference to the gold rush.\u003c/p>\n\u003cp>This spring, check out artist Zhan Wang’s interpretation of Old Gold Mountain at the Asian Art Museum. The artist packed up every imaginable stainless steel kitchen object made in China — enough to cover the floor of a medium-sized gallery — and spent four days recreating a shiny panorama of San Francisco. It’s a stunning display. Market Street is two rows of stainless steel chopsticks. The Transamerica Building is three cheese graters topped off with a pair of closed tongs. Tiny spoons and other utensils are carefully lined up around the edge of the stainless city, little docks and ports jutting out from the stacks of precariously piled kitchenware landmarks. Set on a mirrored platform, the installation creates an ethereal light reflection on the wall, like a luminous fog looming in the distance.\u003c/p>\n\u003cp>When the installation comes down in May, Wang will crate and store the pots and pans until they’re eventually used to build another city. \u003cb>On Gold Mountain\u003c/b> is part of an international series; he’s already done London. For the next installation, I’d like to suggest a pots and pans Indianapolis.\u003c/p>\n\u003cp>In addition to the remarkable rendition of The City, Wang is showing a collection of rocks in a corner of the gallery. The rocks were collected from the Sierras, shipped to Wang’s studio in Beijing and coated with sheets of stainless steel. Wang hammered, polished, and pounded the steel onto the rocks, creating a skin that could be peeled off in chunks and welded back together. The end result is a shiny cousin to the original rock. Fifty pairs of original and fake rocks are displayed, along with another replica of a 6,000-pound boulder glittering near the door to the gallery. This element of the show was inspired by Wang’s past replicas of \u003ca href=\"http://en.wikipedia.org/wiki/Chinese_scholar%27s_rocks\" target=\"offsite\" rel=\"noopener\">Chinese scholar’s rocks\u003c/a>\u003c/p>\n\u003cp>Wang’s view of San Francisco can be interpreted in many ways. While his display is glorious, it is unstable and made of cheap, utilitarian objects manufactured by unknown workers in China. According to the exhibit’s curator, the medium of kitchenware is also a nod to the fact that many Chinese immigrants turned to the service industry after the gold rush. However you interpret it, Wang’s work is a gilded, contemporary glimmer in the eye of the Asian Art Museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interested in seeing another artist’s interpretation of the landscape of San Francisco? Check out Liz Hickok’s jiggly Jell-o version on \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5983\">Spark\u003c/a>.\u003c/p>\n\u003cp>Zhan Wang’s \u003cb>On Gold Mountain\u003c/b> is on view at the Asian Art Museum in San Francisco through May 25th, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>THIS WEEK:\u003c/b> Our very own Kristin Farr is a guest on the \u003ca href=\"http://www.blog.art21.org/\" target=\"offsite\" rel=\"noopener\">Art 21 Blog\u003c/a>. Check it out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most Chinese translations of American city names are phonetic. The Chinese word for New York sounds very similar to the American way of saying “New York.” San Francisco, however, is unique. In Mandarin, it is called Jiu Jin Shan, or Old Gold Mountain, in reference to the gold rush.\u003c/p>\n\u003cp>This spring, check out artist Zhan Wang’s interpretation of Old Gold Mountain at the Asian Art Museum. The artist packed up every imaginable stainless steel kitchen object made in China — enough to cover the floor of a medium-sized gallery — and spent four days recreating a shiny panorama of San Francisco. It’s a stunning display. Market Street is two rows of stainless steel chopsticks. The Transamerica Building is three cheese graters topped off with a pair of closed tongs. Tiny spoons and other utensils are carefully lined up around the edge of the stainless city, little docks and ports jutting out from the stacks of precariously piled kitchenware landmarks. Set on a mirrored platform, the installation creates an ethereal light reflection on the wall, like a luminous fog looming in the distance.\u003c/p>\n\u003cp>When the installation comes down in May, Wang will crate and store the pots and pans until they’re eventually used to build another city. \u003cb>On Gold Mountain\u003c/b> is part of an international series; he’s already done London. For the next installation, I’d like to suggest a pots and pans Indianapolis.\u003c/p>\n\u003cp>In addition to the remarkable rendition of The City, Wang is showing a collection of rocks in a corner of the gallery. The rocks were collected from the Sierras, shipped to Wang’s studio in Beijing and coated with sheets of stainless steel. Wang hammered, polished, and pounded the steel onto the rocks, creating a skin that could be peeled off in chunks and welded back together. The end result is a shiny cousin to the original rock. Fifty pairs of original and fake rocks are displayed, along with another replica of a 6,000-pound boulder glittering near the door to the gallery. This element of the show was inspired by Wang’s past replicas of \u003ca href=\"http://en.wikipedia.org/wiki/Chinese_scholar%27s_rocks\" target=\"offsite\" rel=\"noopener\">Chinese scholar’s rocks\u003c/a>\u003c/p>\n\u003cp>Wang’s view of San Francisco can be interpreted in many ways. While his display is glorious, it is unstable and made of cheap, utilitarian objects manufactured by unknown workers in China. According to the exhibit’s curator, the medium of kitchenware is also a nod to the fact that many Chinese immigrants turned to the service industry after the gold rush. However you interpret it, Wang’s work is a gilded, contemporary glimmer in the eye of the Asian Art Museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interested in seeing another artist’s interpretation of the landscape of San Francisco? Check out Liz Hickok’s jiggly Jell-o version on \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5983\">Spark\u003c/a>.\u003c/p>\n\u003cp>Zhan Wang’s \u003cb>On Gold Mountain\u003c/b> is on view at the Asian Art Museum in San Francisco through May 25th, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>THIS WEEK:\u003c/b> Our very own Kristin Farr is a guest on the \u003ca href=\"http://www.blog.art21.org/\" target=\"offsite\" rel=\"noopener\">Art 21 Blog\u003c/a>. Check it out.\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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"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",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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