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"content": "\u003cp>“Alienation produces eccentrics or revolutionaries,” announced Jenny Holzer on an old marquis in Hollywood. “Please stop texting,” begged Barbara Kruger from an LED screen on the side of an art museum. In the \u003ci>LA Weekly\u003c/i>, Holzer continued, “You are trapped on earth so you will explode,” while Kruger’s video commands continued looping on Wilshire Blvd., “You are a very important person. Hang up and drive.” Both artists are known to work with text and in public — in front of an estimated one hundred million people — they were at no loss for words. Their work was part of a public art exhibition in Los Angeles this spring called \u003cb>Women in the City\u003c/b>.\u003c/p>\n\u003cp>The exhibition featured four successful American female artists who contributed new or rejuvenated works. Some pieces were created in the late seventies/early eighties and are associated with the feminist movement, such as Cindy Sherman’s beloved \u003cb>Untitled Film Stills\u003c/b>, four of which were displayed in large format on billboards. I shrieked when I unexpectedly drove past one of them — a mirrored image of Sherman as a girl with short, dark hair who looks reflective and French. It was not the first time I shrieked while looking at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\" target=\"offsite\" rel=\"noopener\">art in L.A.\u003c/a>, but I wondered if other passersby knew what they were looking at. To some, an image of Sherman on a billboard might look like yet another beauty advertisement, minus the persuasive text. Immediately recognizing the image as an artwork felt like being a member of a secret society.\u003c/p>\n\u003cp>Curator Emi Fontana created the exhibit through the new non-profit arm of her arts organization, \u003cb>West of Rome\u003c/b>. As she said in a \u003ca>\u003ci>New York Times Magazine\u003c/i>\u003c/a> article, Fontana wasn’t very good at selling small works as an art dealer — enter the idea of art on billboards, marquees, and walls in over fifty locations for the \u003cb>Women in the City\u003c/b> exhibit.\u003c/p>\n\u003cp>Kruger’s aforementioned film, \u003cb>Plenty\u003c/b>, is still rolling on a couple of outdoor screens in LA. Holzer’s newspaper propagations — sheets of silver stickers printed with phrases from her \u003cb>Survival Series\u003c/b> are long gone, but wheat-pasted sheets of brightly colored paper with more collections of her borrowed words can still be found around the city — some were pasted with permission, some without. Many of the other works by Holzer, Kruger, Sherman and Louise Lawler are no longer on view, but thanks to Interweb magic (\u003ca>check out my Flickr set\u003c/a>), you can see images of everything without having to go back in time or sit in traffic on Wilshire.\u003c/p>\n\u003cp>I didn’t see the entire exhibition, but I enjoyed having the artists’ intentions subtly shouted at me. I’m still thinking about it a month later, especially Jenny Holzer’s sticker that reminds you to “Turn soft and lovely any time you have a chance.” It made me wish all of our billboards and Jumbo-trons and newspaper advertisements were upended in favor of art. The world might be a much better place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Alienation produces eccentrics or revolutionaries,” announced Jenny Holzer on an old marquis in Hollywood. “Please stop texting,” begged Barbara Kruger from an LED screen on the side of an art museum. In the \u003ci>LA Weekly\u003c/i>, Holzer continued, “You are trapped on earth so you will explode,” while Kruger’s video commands continued looping on Wilshire Blvd., “You are a very important person. Hang up and drive.” Both artists are known to work with text and in public — in front of an estimated one hundred million people — they were at no loss for words. Their work was part of a public art exhibition in Los Angeles this spring called \u003cb>Women in the City\u003c/b>.\u003c/p>\n\u003cp>The exhibition featured four successful American female artists who contributed new or rejuvenated works. Some pieces were created in the late seventies/early eighties and are associated with the feminist movement, such as Cindy Sherman’s beloved \u003cb>Untitled Film Stills\u003c/b>, four of which were displayed in large format on billboards. I shrieked when I unexpectedly drove past one of them — a mirrored image of Sherman as a girl with short, dark hair who looks reflective and French. It was not the first time I shrieked while looking at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\" target=\"offsite\" rel=\"noopener\">art in L.A.\u003c/a>, but I wondered if other passersby knew what they were looking at. To some, an image of Sherman on a billboard might look like yet another beauty advertisement, minus the persuasive text. Immediately recognizing the image as an artwork felt like being a member of a secret society.\u003c/p>\n\u003cp>Curator Emi Fontana created the exhibit through the new non-profit arm of her arts organization, \u003cb>West of Rome\u003c/b>. As she said in a \u003ca>\u003ci>New York Times Magazine\u003c/i>\u003c/a> article, Fontana wasn’t very good at selling small works as an art dealer — enter the idea of art on billboards, marquees, and walls in over fifty locations for the \u003cb>Women in the City\u003c/b> exhibit.\u003c/p>\n\u003cp>Kruger’s aforementioned film, \u003cb>Plenty\u003c/b>, is still rolling on a couple of outdoor screens in LA. Holzer’s newspaper propagations — sheets of silver stickers printed with phrases from her \u003cb>Survival Series\u003c/b> are long gone, but wheat-pasted sheets of brightly colored paper with more collections of her borrowed words can still be found around the city — some were pasted with permission, some without. Many of the other works by Holzer, Kruger, Sherman and Louise Lawler are no longer on view, but thanks to Interweb magic (\u003ca>check out my Flickr set\u003c/a>), you can see images of everything without having to go back in time or sit in traffic on Wilshire.\u003c/p>\n\u003cp>I didn’t see the entire exhibition, but I enjoyed having the artists’ intentions subtly shouted at me. I’m still thinking about it a month later, especially Jenny Holzer’s sticker that reminds you to “Turn soft and lovely any time you have a chance.” It made me wish all of our billboards and Jumbo-trons and newspaper advertisements were upended in favor of art. The world might be a much better place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Color of Palo Alto",
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"content": "\u003cp>Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up \u003cb>The Color of Palo Alto\u003c/b>, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto’s 17,725 property parcels and then to use those photographs to determine the peninsula suburb’s signature hue, which, until Yates showed up, was something the city had not realized it lacked.\u003c/p>\n\u003cp>On April 25, 2008, Yates’s computer will begin grinding its way through a program written by a fellow artist named Eli Schleifer, whose software will, according to Yates’s website, “calculate various color traits about each digital photograph, including numerous average pixel colors (mean, median, mode, HSL, Gaussian, etc.); the unique pixel color (which pixel the photo contains that no other photo contains); the cream-of-the-crop (top row of pixels); and center square (center four pixels), etc. In a democratic manner, each parcel in the city will contribute one ‘vote’ of ‘average mean color’ toward the final color of Palo Alto.” Actually, there won’t be just one color but many: Some colors will be named for neighborhoods like Professorville, others for streets. The current plan is to reveal the official Color of Palo Alto, as well as the colors of its neighborhoods and thoroughfares, on August 5, 2008, the anniversary of the project’s inception. In the meantime, Yates photographs — all of them — are on view through the summer on the side of Palo Alto City Hall.\u003c/p>\n\u003cp>From the street, looking up at all those thousands of photographs, the color of Palo Alto is unmistakably blue, since so many of Yates’s images feature a generous background of sky in them. Of course, my human eyeballs and analog brain are not tuned to the implications of Gaussian distribution, as Yates’ computer will be, so we’ll just have to wait until the actual color is unveiled to learn the answer to this weighty question.\u003c/p>\n\u003cp>The impulse on the part of artists to inventory finite corners of their worlds is hardly new. Los Angeles artist Ed Ruscha shot a photograph of every building on the Sunset Strip in 1966, which he self-published as a book and titled \u003cb>Every Building on the Sunset Strip\u003c/b>. Unlike Yates, Ruscha felt no need to mediate his cataloging impulse for his audience. For Ruscha, it was enough of an artistic statement to simply pay attention to something that most people took for granted. His was a straightforward act of observation, which he quietly shared with anyone who was interested. As it turned out, not a lot of people were.\u003c/p>\n\u003cp>Yates’s piece is a three-ring circus by comparison. It was not enough for him to merely drive or cycle around the city and take his pictures. It was imperative that his means of transportation be a zero-emission electric scooter (on his website, Yates tells us that he got 32 miles per charge) and that his scooter, and sometimes himself, be housed in a solar-powered garage made of salvaged building materials, which, except for the salvaged building materials part, is a nod to a nearby garage where David Packard famously founded the company that still bears his name (surprise, surprise; HP is a major underwriter of the Yates project). And then there are the photos on City Hall. It required 256 three-by-seven-foot perforated vinyl panels, each encompassing about 84 photos, to get the job done. When the public display is over, the panels will be rolled up and stored in a two-by-two-by-three-foot time-capsule-like box, to amaze and delight future generations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My obvious reservations about the piece aside, there is something undeniably charming about Yates’s quixotic adventure. Hats off, first of all, to anyone willing to spend a year taking pictures of anything. And I like the look of all those resulting photographs on the side of City Hall, although perhaps not for the reasons the artist hopes. Yates suggests that residents bring binoculars with them to City Hall to search for their street and house, especially for those whose homes are reproduced in panels mounted on the building’s upper floors. But are people these days really that impressed by such childish confirmations? Certainly not since Google launched its Street View feature at maps.google.com, which lets anyone do the online equivalent (for the record, Google missed one or two sections of Palo Alto, whereas Yates’s inventory is as complete as a time-restricted exercise in documentation can be). More interesting, I think, than the narcissistic opportunity the piece presents to viewers who happen to live in Palo Alto is the impressionistic impact of all those photos lined up between the building’s vertical exterior columns, as if reduced to so many dots in a Seurat. As a work of conceptual art, it is, ironically, this rather traditional aspect of Yates’s piece that succeeds best. \u003c/p>\n\u003cp>That would have been enough for me. In the end, I guess the thing I still fail to fully appreciate is why this work of conceptual art is so focused on the very unconceptual desire to create a product, even if it is a color. Come August 5, Palo Alto-philes around the globe will be able to take Yates’s and Schleifer’s paint chips to their local hardware stores so that the colors of Palo Alto can be splashed proudly on their walls. “We did the kids rooms in Embarcadero, but the kitchen is pure Middlefield!” You can see why this conceit was so appealing to the city officials who gave this project the green light, but will a line of furniture at Restoration Hardware be next? I suppose that’s exactly the sort of paradigm today’s conceptual artist must rise to in the age of Jeff Koons and Takashi Murakami, which I also suppose makes me the one who ought to be put in that time capsule.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Color of Palo Alto \u003c/b> by Samuel Yates will be revealed on August 5, 2008. Photos from the project are on view on the side of city hall, 250 Hamilton Avenue, through the summer of 2008. For \u003ca href=\"http://www.thecolorofpaloalto.com/\" target=\"offsite\" rel=\"noopener\"> more information,\u003c/a> visit thecolorofpaloalto.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up \u003cb>The Color of Palo Alto\u003c/b>, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto’s 17,725 property parcels and then to use those photographs to determine the peninsula suburb’s signature hue, which, until Yates showed up, was something the city had not realized it lacked.\u003c/p>\n\u003cp>On April 25, 2008, Yates’s computer will begin grinding its way through a program written by a fellow artist named Eli Schleifer, whose software will, according to Yates’s website, “calculate various color traits about each digital photograph, including numerous average pixel colors (mean, median, mode, HSL, Gaussian, etc.); the unique pixel color (which pixel the photo contains that no other photo contains); the cream-of-the-crop (top row of pixels); and center square (center four pixels), etc. In a democratic manner, each parcel in the city will contribute one ‘vote’ of ‘average mean color’ toward the final color of Palo Alto.” Actually, there won’t be just one color but many: Some colors will be named for neighborhoods like Professorville, others for streets. The current plan is to reveal the official Color of Palo Alto, as well as the colors of its neighborhoods and thoroughfares, on August 5, 2008, the anniversary of the project’s inception. In the meantime, Yates photographs — all of them — are on view through the summer on the side of Palo Alto City Hall.\u003c/p>\n\u003cp>From the street, looking up at all those thousands of photographs, the color of Palo Alto is unmistakably blue, since so many of Yates’s images feature a generous background of sky in them. Of course, my human eyeballs and analog brain are not tuned to the implications of Gaussian distribution, as Yates’ computer will be, so we’ll just have to wait until the actual color is unveiled to learn the answer to this weighty question.\u003c/p>\n\u003cp>The impulse on the part of artists to inventory finite corners of their worlds is hardly new. Los Angeles artist Ed Ruscha shot a photograph of every building on the Sunset Strip in 1966, which he self-published as a book and titled \u003cb>Every Building on the Sunset Strip\u003c/b>. Unlike Yates, Ruscha felt no need to mediate his cataloging impulse for his audience. For Ruscha, it was enough of an artistic statement to simply pay attention to something that most people took for granted. His was a straightforward act of observation, which he quietly shared with anyone who was interested. As it turned out, not a lot of people were.\u003c/p>\n\u003cp>Yates’s piece is a three-ring circus by comparison. It was not enough for him to merely drive or cycle around the city and take his pictures. It was imperative that his means of transportation be a zero-emission electric scooter (on his website, Yates tells us that he got 32 miles per charge) and that his scooter, and sometimes himself, be housed in a solar-powered garage made of salvaged building materials, which, except for the salvaged building materials part, is a nod to a nearby garage where David Packard famously founded the company that still bears his name (surprise, surprise; HP is a major underwriter of the Yates project). And then there are the photos on City Hall. It required 256 three-by-seven-foot perforated vinyl panels, each encompassing about 84 photos, to get the job done. When the public display is over, the panels will be rolled up and stored in a two-by-two-by-three-foot time-capsule-like box, to amaze and delight future generations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My obvious reservations about the piece aside, there is something undeniably charming about Yates’s quixotic adventure. Hats off, first of all, to anyone willing to spend a year taking pictures of anything. And I like the look of all those resulting photographs on the side of City Hall, although perhaps not for the reasons the artist hopes. Yates suggests that residents bring binoculars with them to City Hall to search for their street and house, especially for those whose homes are reproduced in panels mounted on the building’s upper floors. But are people these days really that impressed by such childish confirmations? Certainly not since Google launched its Street View feature at maps.google.com, which lets anyone do the online equivalent (for the record, Google missed one or two sections of Palo Alto, whereas Yates’s inventory is as complete as a time-restricted exercise in documentation can be). More interesting, I think, than the narcissistic opportunity the piece presents to viewers who happen to live in Palo Alto is the impressionistic impact of all those photos lined up between the building’s vertical exterior columns, as if reduced to so many dots in a Seurat. As a work of conceptual art, it is, ironically, this rather traditional aspect of Yates’s piece that succeeds best. \u003c/p>\n\u003cp>That would have been enough for me. In the end, I guess the thing I still fail to fully appreciate is why this work of conceptual art is so focused on the very unconceptual desire to create a product, even if it is a color. Come August 5, Palo Alto-philes around the globe will be able to take Yates’s and Schleifer’s paint chips to their local hardware stores so that the colors of Palo Alto can be splashed proudly on their walls. “We did the kids rooms in Embarcadero, but the kitchen is pure Middlefield!” You can see why this conceit was so appealing to the city officials who gave this project the green light, but will a line of furniture at Restoration Hardware be next? I suppose that’s exactly the sort of paradigm today’s conceptual artist must rise to in the age of Jeff Koons and Takashi Murakami, which I also suppose makes me the one who ought to be put in that time capsule.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Peter Gabriel had world music. Sting had the rainforests.\u003c/p>\n\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel’s attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>\n\u003cp>Rinder, dean at CCA and an independent curator, has put together \u003cb>Three Related Exhibitions\u003c/b>, a trio of shows at the three-storied \u003ca href=\"http://www.meridiangallery.org/index.html\" target=\"offsite\" rel=\"noopener\">Meridian Gallery\u003c/a>. Its hard to say exactly what ties the shows together besides a lightly tempered spirit of optimism, and an undercurrent of concentrated thinking.\u003c/p>\n\u003cp>\u003cb>Form +\u003c/b> is the show that surrounds you upon entering Meridian. Rinder has gathered together a sextet of local abstractionists that set a rather loose tone for the subsequent shows. All the work exudes sincerity, which is good. Occasionally, they burst with other worldiness, which is even better. Glowing with a slightly clumsy feeling, \u003ca href=\"http://www.basebasebase.com/archive/flat_files/000064.html\" target=\"offsite\" rel=\"noopener\">Todd Bura\u003c/a>‘s small panels manage to squeeze out a little bit of warmth — pretty rare for paintings that are done in a primary palette of black & white. But Bura’s intentions, earnest as they may be, are hindered by their size. Their smallness can come off as downright corny. On the other hand, \u003ca href=\"http://www.deansmith.us/index.html\" target=\"offsite\" rel=\"noopener\">Dean Smith\u003c/a>, whose pencil drawings are only marginally bigger than Bura’s paintings, builds up images with such intricacy and discipline that the results are stratospheric. Within seconds you are lost in the maze of his line, swirling around and around in its various associations.\u003c/p>\n\u003cp>While \u003cb>Form +\u003c/b> staunchly engages in art dialogs that were crafted and honed by Western thought, \u003cb>Dhyána\u003c/b>, on the second floor, speaks a whole different language. This selection of contemporary Tantric drawings, most about the size of a placemat, were gathered in India by French poet Franck André Jamme. The gouache and ink pictures were done as aids for meditation — kinda like spiritual cue cards. And therein lies the problem. Like Peter Gabriel’s presentation of world music to Anglo rock’n’rollers, the Tantric drawings can only be approached, at least in a gallery setting, within the context of the West. Its hard not to look at the pictures and relate elements of them to various art historic moments — like minimalism, stoner art, and constructivism. Luckily, there is an elegance of spirit and an unflinching grace at their core that lingers long after you leave their presence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Floor three is the home to \u003cb>Franck André Jamme: New Exercises\u003c/b>, a room chock full of numerous identically-sized mirrors. The rectangular mirrors, hand-framed in white wood and small enough to be dropped into a purse, are lightly painted by Jamme with slightly enigmatic phrases. Lacking spaces between the words, these poems are lettered in a grid reminiscent of Chris Wool. The phrases can be cloying to no end though, such as “to sense that the eye in fact never chooses anything,” and are only occasionally engaging, like “To cut off regularly one’s own head.”\u003c/p>\n\u003cp>Three Related Exhibitions runs concurrently with Rinder’s \u003cb>Shahrokh Yadegari: Through Music\u003c/b>, at the \u003ca href=\"http://www.magnes.org/exhibits/index.html\" target=\"offsite\" rel=\"noopener\">Magnes\u003c/a>. \u003cb>Shahrokh Yadegari\u003c/b>, a tribute to Rinder’s grandfather (a celebrated cantor at Temple Emanu-El), is a meditative sound installation that merges Jewish and Islamic musical traditions.\u003c/p>\n\u003cp>The artworld can be a snide place. Nowhere more so than here. But the work of Lawrence Rinder reminds us that it can also be a place that offers intergalactic tours with chances to leave this world, if only for a moment, for something better. And maybe we’ll meet the Almighty along the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three exhibitions are at the Meridian Gallery through May 3, 2008.\u003c/p>\n\n",
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"excerpt": "Peter Gabriel had world music. Sting had the rainforests.\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel's attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter Gabriel had world music. Sting had the rainforests.\u003c/p>\n\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel’s attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>\n\u003cp>Rinder, dean at CCA and an independent curator, has put together \u003cb>Three Related Exhibitions\u003c/b>, a trio of shows at the three-storied \u003ca href=\"http://www.meridiangallery.org/index.html\" target=\"offsite\" rel=\"noopener\">Meridian Gallery\u003c/a>. Its hard to say exactly what ties the shows together besides a lightly tempered spirit of optimism, and an undercurrent of concentrated thinking.\u003c/p>\n\u003cp>\u003cb>Form +\u003c/b> is the show that surrounds you upon entering Meridian. Rinder has gathered together a sextet of local abstractionists that set a rather loose tone for the subsequent shows. All the work exudes sincerity, which is good. Occasionally, they burst with other worldiness, which is even better. Glowing with a slightly clumsy feeling, \u003ca href=\"http://www.basebasebase.com/archive/flat_files/000064.html\" target=\"offsite\" rel=\"noopener\">Todd Bura\u003c/a>‘s small panels manage to squeeze out a little bit of warmth — pretty rare for paintings that are done in a primary palette of black & white. But Bura’s intentions, earnest as they may be, are hindered by their size. Their smallness can come off as downright corny. On the other hand, \u003ca href=\"http://www.deansmith.us/index.html\" target=\"offsite\" rel=\"noopener\">Dean Smith\u003c/a>, whose pencil drawings are only marginally bigger than Bura’s paintings, builds up images with such intricacy and discipline that the results are stratospheric. Within seconds you are lost in the maze of his line, swirling around and around in its various associations.\u003c/p>\n\u003cp>While \u003cb>Form +\u003c/b> staunchly engages in art dialogs that were crafted and honed by Western thought, \u003cb>Dhyána\u003c/b>, on the second floor, speaks a whole different language. This selection of contemporary Tantric drawings, most about the size of a placemat, were gathered in India by French poet Franck André Jamme. The gouache and ink pictures were done as aids for meditation — kinda like spiritual cue cards. And therein lies the problem. Like Peter Gabriel’s presentation of world music to Anglo rock’n’rollers, the Tantric drawings can only be approached, at least in a gallery setting, within the context of the West. Its hard not to look at the pictures and relate elements of them to various art historic moments — like minimalism, stoner art, and constructivism. Luckily, there is an elegance of spirit and an unflinching grace at their core that lingers long after you leave their presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Floor three is the home to \u003cb>Franck André Jamme: New Exercises\u003c/b>, a room chock full of numerous identically-sized mirrors. The rectangular mirrors, hand-framed in white wood and small enough to be dropped into a purse, are lightly painted by Jamme with slightly enigmatic phrases. Lacking spaces between the words, these poems are lettered in a grid reminiscent of Chris Wool. The phrases can be cloying to no end though, such as “to sense that the eye in fact never chooses anything,” and are only occasionally engaging, like “To cut off regularly one’s own head.”\u003c/p>\n\u003cp>Three Related Exhibitions runs concurrently with Rinder’s \u003cb>Shahrokh Yadegari: Through Music\u003c/b>, at the \u003ca href=\"http://www.magnes.org/exhibits/index.html\" target=\"offsite\" rel=\"noopener\">Magnes\u003c/a>. \u003cb>Shahrokh Yadegari\u003c/b>, a tribute to Rinder’s grandfather (a celebrated cantor at Temple Emanu-El), is a meditative sound installation that merges Jewish and Islamic musical traditions.\u003c/p>\n\u003cp>The artworld can be a snide place. Nowhere more so than here. But the work of Lawrence Rinder reminds us that it can also be a place that offers intergalactic tours with chances to leave this world, if only for a moment, for something better. And maybe we’ll meet the Almighty along the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three exhibitions are at the Meridian Gallery through May 3, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In April 2008, \u003ci>Gallery Crawl\u003c/i> visits the Bedford Gallery in Walnut Creek for a chat with Carrie Lederer, the curator of \u003cem>THE ART OF DIORAMA\u003c/em> exhibition, which features Jeremy Mora, Helen Cohen, Davis + Davis, Lothar Osterberg, Tracey Snelling and Misako Inaoka.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/diorama_edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Love at First Sight III",
"headTitle": "Love at First Sight III | KQED",
"content": "\u003cp>Painters can often recall the first painting that truly inspired them. Below is the third in a three part series (read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\">part one\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22447\">part two\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to pick up a brush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/cezanne-lg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>NARANGKAR GLOVER:\u003c/b> Paul Cezanne’s \u003cb>La Femme à la cafetière\u003c/b>, the 1890 portrait of a heavyset café owner wearing a simple dress painted in cobalt and ceruleans, hung unassumingly in a corner at the \u003ca href=\"http://www.musee-orsay.fr/en/home.html\" target=\"offsite\" rel=\"noopener\">Musée d’Orsay\u003c/a> when I visited in 2002.\u003c/p>\n\u003cp>What kept me circling the gallery to pass over it several times was the portrait’s complexity within the understated yet ubiquitous subject matter. What I saw in her was a reflection of Cezanne’s disillusionment and disdain for pretty much everything. Her expression echoed him barking orders toward his obliging, yet pedestrian subjects. The heaviness in her face, and the gravity of her form read that she was not in the least bit amused. The frustration is that visceral.\u003c/p>\n\u003cp>Yet the skewed perspectives, loose brushwork, and strategic placing of the coffee pot and mug to the side are a one hundred percent thing of beauty… forever. That’s when I realized it was what I always wanted. I wanted to paint people for real — with all their baggage, frustrations, impatience, and loneliness.\u003c/p>\n\u003cp>It was a swift turning point for me in my approach to painting, a shift away from graffiti and Pop Art. I was confronted with the master works of Paul Cezanne in person, and I was no longer afraid to make each and every piece a tug-of-war from start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.narangkar.com/\" target=\"offsite\" rel=\"noopener\">Narangkar Glover\u003c/a> is co-director of \u003ca href=\"http://www.rowanmorrison.com/\" target=\"offsite\" rel=\"noopener\">Rowan Morrison Gallery\u003c/a>. She most recently exhibited at \u003ca href=\"http://www.tinlark.com/\" target=\"offsite\" rel=\"noopener\">Tinlark Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/rauschenberg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>MARY SNOWDEN:\u003c/b> My influences are almost too many to mention, and they change and evolve constantly. Nevertheless, I’ll take a stab at it.\u003c/p>\n\u003cp>When I was a child, I painted paintings that were embarrassingly like \u003ca href=\"http://en.wikipedia.org/wiki/Grandma_Moses\" target=\"offsite\" rel=\"noopener\">Grandma Moses\u003c/a>. I can still remember the excitement I felt looking at her farm scenes and imagining myself in them.\u003c/p>\n\u003cp>In my late teens I loved \u003ca href=\"http://http://en.wikipedia.org/wiki/Willem_de_Kooning\" target=\"offsite\" rel=\"noopener\">Willem de Kooning\u003c/a>. But somewhere around 1960, I went to a show in New York and saw this amazing painting with a large bird protruding out of it with a pillow dangling beneath it on a rope. It was \u003cb>Canyon\u003c/b>, a \u003ca href=\"http://www.metmuseum.org/special/Rauschenberg/combines_more.asp\" target=\"offsite\" rel=\"noopener\">Robert Rauschenberg combine\u003c/a>. I was blown away and my ideas about painting were forever altered.\u003c/p>\n\u003cp>I appreciate all forms of art, especially writing and film, but paintings are what always steal my heart.\u003c/p>\n\u003cp>Mary Snowden is represented by \u003ca href=\"http://www.bquayartgallery.com/artists/snowden_bio.html\" target=\"offsite\" rel=\"noopener\">Braunstein/Quay Gallery\u003c/a>. Her work is currently featured in \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">Artists of Invention: A Century of CCA\u003c/a> at the Oakland Museum of California.\u003c/p>\n\u003cp>\u003cb>ALEXIS MACKENZIE:\u003c/b> Because I was a classic case of I’m-going-to-be-an-artist-when-I-grow-up, the difficult thing was choosing how, exactly, I was going to express myself. I drew, I wrote; it wasn’t so much that I was ever thunderstruck by inspiration, or carried an ideal close to my heart — it was more that I spent a long time searching for the thing to hold dear, which felt most right as a means of expression.\u003c/p>\n\u003cp>There is one concrete moment with a collage that I recall, however, which almost certainly is what set me down the eventually obsessive path I’ve taken with the medium.\u003c/p>\n\u003cp>In high school, I kept a visual journal for a class, which was mainly comprised of collages; while I loved making them and they were well received, I think the moment I began to feel that they could be more than simply a journal to me was one afternoon at my friend Meredith’s house.\u003c/p>\n\u003cp>She had made a collage incorporating various elements from magazines — signage, a ballerina, a large rounded mirror, an urban environment — I can’t recall everything about it, sadly. I lost my tattered color copy of it long ago. But what was so captivating about it was how precisely she had cut out all the tiny details, and placed things so that they almost seemed to belong. They fit, they balanced, there were no rough edges. We were admiring it together and she said to me, “There’s just something so nice about cutting something out perfectly…” and somehow it resonated; something inside me clicked into place with that statement.\u003c/p>\n\u003cp>From there it simply became a journey of exploring the imagery available in the world, how it fits together, and how well I can teach myself to manipulate it. I still think of that moment, and how the consideration of it has led me deep into this practice which I love so much — in a way, the thing that is so nice about cutting something out perfectly, is how the discipline of focusing so tightly on a single task actually allows the mind to roam most freely.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alexisanne.com/\" target=\"offsite\" rel=\"noopener\">Alexis Mackenzie\u003c/a>‘s work was recently seen in \u003ca href=\"http://www.sleepmovement.com/gallery.php?artist_id=64\" target=\"offsite\" rel=\"noopener\">All Star Hustlaz III\u003c/a> at \u003ca href=\"http://www.sleepmovement.com/about.php\" target=\"offsite\" rel=\"noopener\">White Walls\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/dekooning.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CHRIS ASHLEY:\u003c/b> Initially, I was certain that de Kooning’s \u003cb>Woman I\u003c/b>, 1950-52, most influenced me. He is an enormously important artist for me, and this unusual and controversial painting is a unique milestone in American art.\u003c/p>\n\u003cp>But I had to think about this. Many early encounters with paintings were important, and I needed to wade through memories and sort out my story to identify that single moment. So I put de Kooning on hold.\u003c/p>\n\u003cp>One Saturday afternoon in 1969, my grandmother took me to the new \u003ca href=\"http://www.museumca.org/\" target=\"offsite\" rel=\"noopener\">Oakland Museum\u003c/a>, and while she tried to interest me in landscape painters (\u003ca href=\"http://collections.museumca.org/item_detail.jsp?from_basic_search=t&id=142618&start=11\" target=\"offsite\" rel=\"noopener\">Albert Bierstadt\u003c/a> and Hill, who I do like) I was drawn to abstract painters (\u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, \u003ca href=\"http://www.artnet.com/artist/4417/edward-corbett.html\" target=\"offsite\" rel=\"noopener\">Edward Corbett,\u003c/a> or \u003ca href=\"http://www.artistsforum.com/Lobdell/\" target=\"offsite\" rel=\"noopener\">Lobdell\u003c/a>). I think I remember seeing Nathan Oliveira’s large pink and orange \u003ca href=\"http://www.marin.cc.ca.us/art107/images/OliveriaSpringNude.jpg\" target=\"offsite\" rel=\"noopener\">Spring Nude\u003c/a>, but maybe I’ve just seen it too many times over the years. I very clearly remember Mel Ramos’s \u003ca href=\"http://www.artfacts.net/artworkpics/thumbs/8288.jpg\" target=\"offsite\" rel=\"noopener\">Browned Bare\u003c/a>, which showed me what kind of artist I did not want to be. On the way home that day my grandmother bought me a set of oils, and as I sat before the still life she set up on the kitchen table I tried to make a Lobdell.\u003c/p>\n\u003cp>Other important memories: Joan Brown’s large yet intimate narrative travel paintings at Hansen Fuller Gallery, San Francisco, 1976; the huge Fauves show at SFMoMA that same year, and my first encounter with Clyfford Still soon after; Hassel Smith at Paule Anglim on Montgomery in 1977; and first seeing Agnes Martin’s \u003cb>Falling Blue\u003c/b>, around 1978, and literally feeling my life change as I stood there.\u003c/p>\n\u003cp>But I keep going back to de Kooning. I remember finding \u003ca href=\"http://www.amazon.com/Kooning-Willem/dp/0810901234/ref=sr_1_1?ie=UTF8&s=books&qid=1202797652&sr=1-1\" target=\"offsite\" rel=\"noopener\">Harold Rosenberg’s big 1974 book\u003c/a> on de Kooning in the public library not far from where I grew up around 1976, my surpise when looking through it, and how I repeatedly checked it out. \u003cb>Woman I\u003c/b> grabbed me because of the edge it walked between representation and abstraction, because of de Kooning’s assertive drawing with the brush and control of space, and because of that wonderful bar of aluminum paint holding down the right side, later confirmed in person at MoMA. It all made me want to paint, which I began and continue, and I think of de Kooning, and my grandmother, quite often.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.marjoriewoodgallery.com/exhibitions/ashley/index.html\" target=\"offsite\" rel=\"noopener\">I Made This For You\u003c/a>, \u003ca href=\"http://chrisashley.net/\" target=\"offsite\" rel=\"noopener\">Chris Ashley\u003c/a>‘s online exhibition of drawings is on view at Marjorie Wood Gallery.\u003c/p>\n\n",
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"excerpt": "Painters can often recall the first painting that truly inspired them. Below is the third in a three part series where Bay Area artists talk about that first love -- the initial painting that moved them to pick up a brush.",
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"description": "Painters can often recall the first painting that truly inspired them. Below is the third in a three part series where Bay Area artists talk about that first love -- the initial painting that moved them to pick up a brush.",
"title": "Love at First Sight III | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Painters can often recall the first painting that truly inspired them. Below is the third in a three part series (read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\">part one\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22447\">part two\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to pick up a brush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/cezanne-lg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>NARANGKAR GLOVER:\u003c/b> Paul Cezanne’s \u003cb>La Femme à la cafetière\u003c/b>, the 1890 portrait of a heavyset café owner wearing a simple dress painted in cobalt and ceruleans, hung unassumingly in a corner at the \u003ca href=\"http://www.musee-orsay.fr/en/home.html\" target=\"offsite\" rel=\"noopener\">Musée d’Orsay\u003c/a> when I visited in 2002.\u003c/p>\n\u003cp>What kept me circling the gallery to pass over it several times was the portrait’s complexity within the understated yet ubiquitous subject matter. What I saw in her was a reflection of Cezanne’s disillusionment and disdain for pretty much everything. Her expression echoed him barking orders toward his obliging, yet pedestrian subjects. The heaviness in her face, and the gravity of her form read that she was not in the least bit amused. The frustration is that visceral.\u003c/p>\n\u003cp>Yet the skewed perspectives, loose brushwork, and strategic placing of the coffee pot and mug to the side are a one hundred percent thing of beauty… forever. That’s when I realized it was what I always wanted. I wanted to paint people for real — with all their baggage, frustrations, impatience, and loneliness.\u003c/p>\n\u003cp>It was a swift turning point for me in my approach to painting, a shift away from graffiti and Pop Art. I was confronted with the master works of Paul Cezanne in person, and I was no longer afraid to make each and every piece a tug-of-war from start to finish.\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.narangkar.com/\" target=\"offsite\" rel=\"noopener\">Narangkar Glover\u003c/a> is co-director of \u003ca href=\"http://www.rowanmorrison.com/\" target=\"offsite\" rel=\"noopener\">Rowan Morrison Gallery\u003c/a>. She most recently exhibited at \u003ca href=\"http://www.tinlark.com/\" target=\"offsite\" rel=\"noopener\">Tinlark Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/rauschenberg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>MARY SNOWDEN:\u003c/b> My influences are almost too many to mention, and they change and evolve constantly. Nevertheless, I’ll take a stab at it.\u003c/p>\n\u003cp>When I was a child, I painted paintings that were embarrassingly like \u003ca href=\"http://en.wikipedia.org/wiki/Grandma_Moses\" target=\"offsite\" rel=\"noopener\">Grandma Moses\u003c/a>. I can still remember the excitement I felt looking at her farm scenes and imagining myself in them.\u003c/p>\n\u003cp>In my late teens I loved \u003ca href=\"http://http://en.wikipedia.org/wiki/Willem_de_Kooning\" target=\"offsite\" rel=\"noopener\">Willem de Kooning\u003c/a>. But somewhere around 1960, I went to a show in New York and saw this amazing painting with a large bird protruding out of it with a pillow dangling beneath it on a rope. It was \u003cb>Canyon\u003c/b>, a \u003ca href=\"http://www.metmuseum.org/special/Rauschenberg/combines_more.asp\" target=\"offsite\" rel=\"noopener\">Robert Rauschenberg combine\u003c/a>. I was blown away and my ideas about painting were forever altered.\u003c/p>\n\u003cp>I appreciate all forms of art, especially writing and film, but paintings are what always steal my heart.\u003c/p>\n\u003cp>Mary Snowden is represented by \u003ca href=\"http://www.bquayartgallery.com/artists/snowden_bio.html\" target=\"offsite\" rel=\"noopener\">Braunstein/Quay Gallery\u003c/a>. Her work is currently featured in \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">Artists of Invention: A Century of CCA\u003c/a> at the Oakland Museum of California.\u003c/p>\n\u003cp>\u003cb>ALEXIS MACKENZIE:\u003c/b> Because I was a classic case of I’m-going-to-be-an-artist-when-I-grow-up, the difficult thing was choosing how, exactly, I was going to express myself. I drew, I wrote; it wasn’t so much that I was ever thunderstruck by inspiration, or carried an ideal close to my heart — it was more that I spent a long time searching for the thing to hold dear, which felt most right as a means of expression.\u003c/p>\n\u003cp>There is one concrete moment with a collage that I recall, however, which almost certainly is what set me down the eventually obsessive path I’ve taken with the medium.\u003c/p>\n\u003cp>In high school, I kept a visual journal for a class, which was mainly comprised of collages; while I loved making them and they were well received, I think the moment I began to feel that they could be more than simply a journal to me was one afternoon at my friend Meredith’s house.\u003c/p>\n\u003cp>She had made a collage incorporating various elements from magazines — signage, a ballerina, a large rounded mirror, an urban environment — I can’t recall everything about it, sadly. I lost my tattered color copy of it long ago. But what was so captivating about it was how precisely she had cut out all the tiny details, and placed things so that they almost seemed to belong. They fit, they balanced, there were no rough edges. We were admiring it together and she said to me, “There’s just something so nice about cutting something out perfectly…” and somehow it resonated; something inside me clicked into place with that statement.\u003c/p>\n\u003cp>From there it simply became a journey of exploring the imagery available in the world, how it fits together, and how well I can teach myself to manipulate it. I still think of that moment, and how the consideration of it has led me deep into this practice which I love so much — in a way, the thing that is so nice about cutting something out perfectly, is how the discipline of focusing so tightly on a single task actually allows the mind to roam most freely.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alexisanne.com/\" target=\"offsite\" rel=\"noopener\">Alexis Mackenzie\u003c/a>‘s work was recently seen in \u003ca href=\"http://www.sleepmovement.com/gallery.php?artist_id=64\" target=\"offsite\" rel=\"noopener\">All Star Hustlaz III\u003c/a> at \u003ca href=\"http://www.sleepmovement.com/about.php\" target=\"offsite\" rel=\"noopener\">White Walls\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/dekooning.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CHRIS ASHLEY:\u003c/b> Initially, I was certain that de Kooning’s \u003cb>Woman I\u003c/b>, 1950-52, most influenced me. He is an enormously important artist for me, and this unusual and controversial painting is a unique milestone in American art.\u003c/p>\n\u003cp>But I had to think about this. Many early encounters with paintings were important, and I needed to wade through memories and sort out my story to identify that single moment. So I put de Kooning on hold.\u003c/p>\n\u003cp>One Saturday afternoon in 1969, my grandmother took me to the new \u003ca href=\"http://www.museumca.org/\" target=\"offsite\" rel=\"noopener\">Oakland Museum\u003c/a>, and while she tried to interest me in landscape painters (\u003ca href=\"http://collections.museumca.org/item_detail.jsp?from_basic_search=t&id=142618&start=11\" target=\"offsite\" rel=\"noopener\">Albert Bierstadt\u003c/a> and Hill, who I do like) I was drawn to abstract painters (\u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, \u003ca href=\"http://www.artnet.com/artist/4417/edward-corbett.html\" target=\"offsite\" rel=\"noopener\">Edward Corbett,\u003c/a> or \u003ca href=\"http://www.artistsforum.com/Lobdell/\" target=\"offsite\" rel=\"noopener\">Lobdell\u003c/a>). I think I remember seeing Nathan Oliveira’s large pink and orange \u003ca href=\"http://www.marin.cc.ca.us/art107/images/OliveriaSpringNude.jpg\" target=\"offsite\" rel=\"noopener\">Spring Nude\u003c/a>, but maybe I’ve just seen it too many times over the years. I very clearly remember Mel Ramos’s \u003ca href=\"http://www.artfacts.net/artworkpics/thumbs/8288.jpg\" target=\"offsite\" rel=\"noopener\">Browned Bare\u003c/a>, which showed me what kind of artist I did not want to be. On the way home that day my grandmother bought me a set of oils, and as I sat before the still life she set up on the kitchen table I tried to make a Lobdell.\u003c/p>\n\u003cp>Other important memories: Joan Brown’s large yet intimate narrative travel paintings at Hansen Fuller Gallery, San Francisco, 1976; the huge Fauves show at SFMoMA that same year, and my first encounter with Clyfford Still soon after; Hassel Smith at Paule Anglim on Montgomery in 1977; and first seeing Agnes Martin’s \u003cb>Falling Blue\u003c/b>, around 1978, and literally feeling my life change as I stood there.\u003c/p>\n\u003cp>But I keep going back to de Kooning. I remember finding \u003ca href=\"http://www.amazon.com/Kooning-Willem/dp/0810901234/ref=sr_1_1?ie=UTF8&s=books&qid=1202797652&sr=1-1\" target=\"offsite\" rel=\"noopener\">Harold Rosenberg’s big 1974 book\u003c/a> on de Kooning in the public library not far from where I grew up around 1976, my surpise when looking through it, and how I repeatedly checked it out. \u003cb>Woman I\u003c/b> grabbed me because of the edge it walked between representation and abstraction, because of de Kooning’s assertive drawing with the brush and control of space, and because of that wonderful bar of aluminum paint holding down the right side, later confirmed in person at MoMA. It all made me want to paint, which I began and continue, and I think of de Kooning, and my grandmother, quite often.\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.marjoriewoodgallery.com/exhibitions/ashley/index.html\" target=\"offsite\" rel=\"noopener\">I Made This For You\u003c/a>, \u003ca href=\"http://chrisashley.net/\" target=\"offsite\" rel=\"noopener\">Chris Ashley\u003c/a>‘s online exhibition of drawings is on view at Marjorie Wood Gallery.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"excerpt": "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.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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>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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"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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"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",
"headTitle": "Church, Homer and Moran: Tourism and the American Landscape | KQED",
"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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"description": "On the last wall in the last room of the Cooper-Hewitt organized Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape, 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. ",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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