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"content": "\u003cp>Seeing a specific painting or work of art in person, at a certain moment, can change your life. Something in the painting and in you just click. Maybe it’s a color. Maybe it’s the subject matter. \u003c/p>\n\u003cp>Ask an artist and they can probably tell you the first time it happened to them. Some emotion flew off the canvas and lodged in their heart. A sense of wonder was born. A conversation began. Time goes on and other influences flow into that artist’s life. His work changes, but that first emotional experience is still there.\u003c/p>\n\u003cp>Below begins a three part series in which Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>GALE ANTOKAL:\u003c/b> When I was an art student in New York, I was assigned to see the show \u003cb>New York Painting and Sculpture: 1940-1970\u003c/b>, curated by \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Geldzahler\">Henry Geldzahler\u003c/a> at the Metropolitan Museum of Art. It was the first contemporary survey the Met had ever exhibited. The large galleries of 18th and 19th century paintings were emptied to be filled with the most sensational and the most important work in a particular moment of each artist’s career. There were over 400 paintings, sculptures and drawings of the New York school, which included Abstract Expressionism, Color-Field Painting, Pop Art and Minimal Art. David Smith’s burnished aluminum sculpture exploded on me upon entry. I was overwhelmed by this visual pageant and grateful for a moment to recover from the impact. Then, I walked into a room where there were small works on paper by Jasper Johns and Ellsworth Kelly, a pencil rendition of \u003ca href=\"http://www.nga.gov/press/exh/215/images.shtm\">Device Circle\u003c/a>, \u003ca href=\"http://www.tate.org.uk/modern/tatetracks/images_yourtrack/works/T00454_272.jpg\">0 through 9\u003c/a> in charcoal and pastel, and a study for \u003cb>Painting with a Ball\u003c/b> in conte crayon.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/jasper-johns.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">But it was Johns’ grid series \u003ca href=\"http://www.hencethe.com/images/art/big/JasperJohnsGrey.jpg\">Gray Alphabets\u003c/a> that riveted me. The hand-drawn graphite and graphite washes stunned me. The edge of each letter patch appeared as if it was peeling, and the leaden, little licks therein were all contained within a precise and delicate outline. They were like the grit and soot of the city — like a newspaper page to a young child, before they are able to read. Incomprehensibly tabloid. In the same room were a row of Ellsworth Kelly’s delicate, slightly ungainly botanic line drawings — a tulip, a stalk of grass, a magnolia blossom, an avocado plant. A chrysanthemum with the same vertical iconic grace of Mondrian’s earlier renderings… and also in reverence to Matisse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was stunned by the contrast of material substance in Johns’s and Kelly’s drawings. I think I must have sensed that graphite, charcoal, pastel, and conte crayon could be subject matter in themselves. That was the moment that I wanted to devote my life to making drawings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.galeantokal.com/\">Gale Antokal\u003c/a> is from New York and received her MFA from the California College of the Arts in 1984. She is an Associate Professor in the School of Art & Design at San Jose State University. In May 2008, she has a show of drawings at \u003ca href=\"http://www.patriciasweetowgallery.com/\">Patricia Sweetow Gallery\u003c/a>. She is also represented by \u003ca href=\"http://www.couturiergallery.com/\">Couturier Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cb>LISA SOLOMON:\u003c/b> As an educator I hope that something I do, say, or show will make a mark on a student. I often think back to my undergraduate Figure Drawing class with John Zurier and the day he showed me \u003ca href=\"http://en.wikipedia.org/wiki/David_Park\">David Park\u003c/a> as a shining example of an “ah-ha” moment. A moment where my heart beat faster and all I wanted to do was pick up a brush and paint.\u003c/p>\n\u003cp>We were always working from a live model — I was shy and afraid of taking risks. John had been slowly encouraging me to just try things. Play. Experiment. I started using oil sticks to make messier and bigger gestures. I started removing parts of faces and trying to use color as an emotional quotient rather than as a descriptive one.\u003c/p>\n\u003cp>John walked by me and said “Oh, I want to show you someone.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/david-park.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">He went to his office and brought back a book on David Park. I was floored. The immediate sense of gesture butted up against a built up surface. The paintings were both fast and slow, representational and abstract. The colors were pure and mixed to perfection. \u003ca href=\"http://hackettfreedman.com/templates/artist.jsp?id=PAR\">The shapes simple. The brushstrokes divine.\u003c/a> I could almost taste the paint. Dots became eyes, swoops became ears, stripes melted into one another on shirts.\u003c/p>\n\u003cp>That weekend I went out and found an out of print book of Park’s work. It was the first art book I bought for myself. I still own it. I sought his work out in museums. The first time I saw a Park piece in person I was awed by the depth of paint, the relationship between figure and ground, the subtle mastery of composition and scale. His figures always fit, just so, into their spaces. The colors were more vibrant, and the brushstrokes more pronounced in person. I felt as though Park was in each of his works. That he meant them, felt them, ate and slept them.\u003c/p>\n\u003cp>I tried to paint like David Park all semester. Of course I failed miserably. But I learned a lot. I learned how to push and pull the paint around. How to mean my brushstrokes. How to manipulate and mix paint on the canvas during the act of painting. My work looks nothing like Park’s now; I can’t imagine even using the figure as imagery in my work. But I still admire the work greatly. And I always smile when I have the occasion to show a student the work of David Park.\u003c/p>\n\u003cp>\u003ca href=\"http://www.lisasolomon.com\">Lisa Solomon\u003c/a> recently \u003ca href=\"http://www.flickr.com/photos/lisasolomon/sets/72157603627875118/\">exhibited at SqFt Gallery\u003c/a> in Nashville.\u003c/p>\n\u003cp>\u003cb>JOHN ZURIER:\u003c/b> My parents were collectors and I grew up with art in our house. So I was exposed to paintings at an early age and lived with them daily. Most of the paintings were modern and contemporary Â?Â? really marvelous things Â?Â? and I knew right away that abstract art was intimately connected to the real world.\u003c/p>\n\u003cp>As a small child I was in love with a painting of a dancing girl by the German Expressionist \u003ca href=\"http://en.wikipedia.org/wiki/Ernst_Ludwig_Kirchner\">Ludwig Kirchner\u003c/a>. But the one I loved most was a large watercolor of a standing woman holding something in her hands by \u003ca href=\"http://en.wikipedia.org/wiki/Oskar_Kokoschka\">Oskar Kokoschka\u003c/a>. It was a perfect balance of a sudden watery color with a moment of fragility.\u003c/p>\n\u003cp>What made me want to paint were sensations I had no words for: the silence of houses, the colors of things, light from an open window, the scent of the ocean mingled with Eucalyptus and dry Sycamore leaves. I had already decided to be a painter when I saw the painting that would change my life.\u003c/p>\n\u003cp>In 1979, during my last semester as an undergraduate, the art department at Berkeley screened Emile de Antonio’s film \u003ca href=\"http://www.amazon.com/Painters-Painting-Art-Scene-1940-1970/dp/6302889650/ref=sr_1_1?ie=UTF8&s=video&qid=1202625966&sr=8-1\">Painter’s Painting\u003c/a>. I remember watching it in the middle of the afternoon with the 16mm reels purring away and seeing \u003ca href=\"http://en.wikipedia.org/wiki/Barnett_Newman\">Barnett Newman\u003c/a> sitting and talking in his studio in front of his paintings. I can recall my excitement thinking, “Now this is it! This is the real deal!” As soon as it was over I went to a bookstore and bought the \u003ca href=\"http://www.amazon.com/Barnett-Newman-Thomas-B-Hess/dp/0870705008/ref=sr_1_1?ie=UTF8&s=books&qid=1202626087&sr=8-1\">Newman catalog\u003c/a> by Thomas Hess.\u003c/p>\n\u003cp>Soon after I graduated and took off for Europe to see paintings in the great picture galleries and museums. Barnett Newman was the farthest thing from my mind when I rode the escalator up to the galleries at the Centre Pompidou in Paris. My head was filled with the old masters and I was seeking Matisse. When I walked into a small room that was filled floor to ceiling with Newman’s \u003ca href=\"http://books.google.com/books?id=FM2BO8w2YZkC&pg=RA1-PA246&lpg=RA1-PA246&dq=shining+forth+centre+pompidou&source=web&ots=8L8qO5jw4E&sig=f3_bkzbnd1oo__A5L-9z0b7KbBU#PRA1-PA93,M1\">Shining Forth (to George)\u003c/a>, the experience was shattering.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/barnett-newman.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">\u003cb>Shining Forth (to George)\u003c/b> is 9 1⁄2 feet high and 14 1⁄2 feet long. It has 3 vertical stripes of black oil paint running top to bottom on unprimed raw cotton canvas. He painted it in one afternoon in 1961 for his brother George, who had died earlier that year.\u003c/p>\n\u003cp>Nothing could have prepared me for the intense light coming off of it. With its utter simplicity, expanse and scale I had no coordinates for it. Every landmark was gone. It couldn’t have taken him more than an hour to do. And although I could see exactly what he had done, that didn’t explain anything. Here he was leaving open and uncovered everything I had been taught to cover up. I felt as if the ground was giving way beneath my feet and I had to leave the museum and sit down outside.\u003c/p>\n\u003cp>I was 22. It was the most radical painting I had ever seen. And it would take years to accept the implications of this experience, where for a moment I felt so exposed, so happy and so free.\u003c/p>\n\u003cp>\u003ca href=\"http://www.oblidi.net/artists/zurier/zurier.html\">John Zurier\u003c/a> is represented by \u003ca href=\"http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=18480&page_tab=Dealers_selling\">Gallery Paule Anglim, Larry Becker Contemporary Art, and Peter Blum\u003c/a>.\u003c/p>\n\u003cp>\u003cb>DEAN SMITH:\u003c/b> The year was 1978. I was 17, a nerdy, awkward kid from the ‘burbs with little exposure to fine art. Okay, I did have this glossy table book of the history of art that my parents, in some unarticulated desire of exposing me to “culture,” had given as a Christmas present many years before. But really no exposure whatsoever; certainly not live and not in person. And so I found myself one Sunday afternoon with my dad and my friend David at the \u003ca href=\"http://www.museumca.org/\">Oakland Museum of California\u003c/a>. What initially had brought us there has now faded from memory.\u003c/p>\n\u003cp>We entered the museum’s Great Hall — back then you reached the cavernous gallery from the elevated anteroom above, descending a staircase to the space below taking in the whole of the room as you did so (now they have sealed off that splendid, dramatic entry with offices — what a shame!) — and facing the staircase was this enormous canvas suffused entirely in orange. The glorious tonality of orange juice, so tangy yet sweet you could taste it, except for one corner of the painting (the bottom right, I believe) was raw fabric, defined with paint drips and ragged brush stroked edges.\u003c/p>\n\u003cp>I wanted to jump into the painting. Be in that space. Feel the color flood into my pores. In its unapologetic monochrome-ness the light it radiated gave me the profound impression of a happiness so utterly childlike that it could forever banish all the world’s dour gray-mindedness.\u003c/p>\n\u003cp>Dad and David just laughed and snorted. You know, the usual comments: “That’s not painting! I could do that!” that sort of thing. Not having the self-esteem let alone knowledge to defend such a work, I kept my mouth shut. But I thrilled to that painting — Yes!! Orange! How perfect in its simplicity, that a single color could so move me. Dad and David moved off into the other parts of the gallery dismissing all before them. I walked up to the label and read it: \u003ca href=\"http://www.askart.com/askart/t/sam_tchakalian/sam_tchakalian.aspx\">Sam Tchakalian\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4990.htm\">Orange Juice\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.deansmith.us/\">Dean Smith\u003c/a> is represented by \u003ca href=\"http://www.gallerypauleanglim.com/smith_dean.html\">Gallery Paule Anglim\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seeing a specific painting or work of art in person, at a certain moment, can change your life. Something in the painting and in you just click. Maybe it’s a color. Maybe it’s the subject matter. \u003c/p>\n\u003cp>Ask an artist and they can probably tell you the first time it happened to them. Some emotion flew off the canvas and lodged in their heart. A sense of wonder was born. A conversation began. Time goes on and other influences flow into that artist’s life. His work changes, but that first emotional experience is still there.\u003c/p>\n\u003cp>Below begins a three part series in which Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>GALE ANTOKAL:\u003c/b> When I was an art student in New York, I was assigned to see the show \u003cb>New York Painting and Sculpture: 1940-1970\u003c/b>, curated by \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Geldzahler\">Henry Geldzahler\u003c/a> at the Metropolitan Museum of Art. It was the first contemporary survey the Met had ever exhibited. The large galleries of 18th and 19th century paintings were emptied to be filled with the most sensational and the most important work in a particular moment of each artist’s career. There were over 400 paintings, sculptures and drawings of the New York school, which included Abstract Expressionism, Color-Field Painting, Pop Art and Minimal Art. David Smith’s burnished aluminum sculpture exploded on me upon entry. I was overwhelmed by this visual pageant and grateful for a moment to recover from the impact. Then, I walked into a room where there were small works on paper by Jasper Johns and Ellsworth Kelly, a pencil rendition of \u003ca href=\"http://www.nga.gov/press/exh/215/images.shtm\">Device Circle\u003c/a>, \u003ca href=\"http://www.tate.org.uk/modern/tatetracks/images_yourtrack/works/T00454_272.jpg\">0 through 9\u003c/a> in charcoal and pastel, and a study for \u003cb>Painting with a Ball\u003c/b> in conte crayon.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/jasper-johns.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">But it was Johns’ grid series \u003ca href=\"http://www.hencethe.com/images/art/big/JasperJohnsGrey.jpg\">Gray Alphabets\u003c/a> that riveted me. The hand-drawn graphite and graphite washes stunned me. The edge of each letter patch appeared as if it was peeling, and the leaden, little licks therein were all contained within a precise and delicate outline. They were like the grit and soot of the city — like a newspaper page to a young child, before they are able to read. Incomprehensibly tabloid. In the same room were a row of Ellsworth Kelly’s delicate, slightly ungainly botanic line drawings — a tulip, a stalk of grass, a magnolia blossom, an avocado plant. A chrysanthemum with the same vertical iconic grace of Mondrian’s earlier renderings… and also in reverence to Matisse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was stunned by the contrast of material substance in Johns’s and Kelly’s drawings. I think I must have sensed that graphite, charcoal, pastel, and conte crayon could be subject matter in themselves. That was the moment that I wanted to devote my life to making drawings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.galeantokal.com/\">Gale Antokal\u003c/a> is from New York and received her MFA from the California College of the Arts in 1984. She is an Associate Professor in the School of Art & Design at San Jose State University. In May 2008, she has a show of drawings at \u003ca href=\"http://www.patriciasweetowgallery.com/\">Patricia Sweetow Gallery\u003c/a>. She is also represented by \u003ca href=\"http://www.couturiergallery.com/\">Couturier Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cb>LISA SOLOMON:\u003c/b> As an educator I hope that something I do, say, or show will make a mark on a student. I often think back to my undergraduate Figure Drawing class with John Zurier and the day he showed me \u003ca href=\"http://en.wikipedia.org/wiki/David_Park\">David Park\u003c/a> as a shining example of an “ah-ha” moment. A moment where my heart beat faster and all I wanted to do was pick up a brush and paint.\u003c/p>\n\u003cp>We were always working from a live model — I was shy and afraid of taking risks. John had been slowly encouraging me to just try things. Play. Experiment. I started using oil sticks to make messier and bigger gestures. I started removing parts of faces and trying to use color as an emotional quotient rather than as a descriptive one.\u003c/p>\n\u003cp>John walked by me and said “Oh, I want to show you someone.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/david-park.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">He went to his office and brought back a book on David Park. I was floored. The immediate sense of gesture butted up against a built up surface. The paintings were both fast and slow, representational and abstract. The colors were pure and mixed to perfection. \u003ca href=\"http://hackettfreedman.com/templates/artist.jsp?id=PAR\">The shapes simple. The brushstrokes divine.\u003c/a> I could almost taste the paint. Dots became eyes, swoops became ears, stripes melted into one another on shirts.\u003c/p>\n\u003cp>That weekend I went out and found an out of print book of Park’s work. It was the first art book I bought for myself. I still own it. I sought his work out in museums. The first time I saw a Park piece in person I was awed by the depth of paint, the relationship between figure and ground, the subtle mastery of composition and scale. His figures always fit, just so, into their spaces. The colors were more vibrant, and the brushstrokes more pronounced in person. I felt as though Park was in each of his works. That he meant them, felt them, ate and slept them.\u003c/p>\n\u003cp>I tried to paint like David Park all semester. Of course I failed miserably. But I learned a lot. I learned how to push and pull the paint around. How to mean my brushstrokes. How to manipulate and mix paint on the canvas during the act of painting. My work looks nothing like Park’s now; I can’t imagine even using the figure as imagery in my work. But I still admire the work greatly. And I always smile when I have the occasion to show a student the work of David Park.\u003c/p>\n\u003cp>\u003ca href=\"http://www.lisasolomon.com\">Lisa Solomon\u003c/a> recently \u003ca href=\"http://www.flickr.com/photos/lisasolomon/sets/72157603627875118/\">exhibited at SqFt Gallery\u003c/a> in Nashville.\u003c/p>\n\u003cp>\u003cb>JOHN ZURIER:\u003c/b> My parents were collectors and I grew up with art in our house. So I was exposed to paintings at an early age and lived with them daily. Most of the paintings were modern and contemporary Â?Â? really marvelous things Â?Â? and I knew right away that abstract art was intimately connected to the real world.\u003c/p>\n\u003cp>As a small child I was in love with a painting of a dancing girl by the German Expressionist \u003ca href=\"http://en.wikipedia.org/wiki/Ernst_Ludwig_Kirchner\">Ludwig Kirchner\u003c/a>. But the one I loved most was a large watercolor of a standing woman holding something in her hands by \u003ca href=\"http://en.wikipedia.org/wiki/Oskar_Kokoschka\">Oskar Kokoschka\u003c/a>. It was a perfect balance of a sudden watery color with a moment of fragility.\u003c/p>\n\u003cp>What made me want to paint were sensations I had no words for: the silence of houses, the colors of things, light from an open window, the scent of the ocean mingled with Eucalyptus and dry Sycamore leaves. I had already decided to be a painter when I saw the painting that would change my life.\u003c/p>\n\u003cp>In 1979, during my last semester as an undergraduate, the art department at Berkeley screened Emile de Antonio’s film \u003ca href=\"http://www.amazon.com/Painters-Painting-Art-Scene-1940-1970/dp/6302889650/ref=sr_1_1?ie=UTF8&s=video&qid=1202625966&sr=8-1\">Painter’s Painting\u003c/a>. I remember watching it in the middle of the afternoon with the 16mm reels purring away and seeing \u003ca href=\"http://en.wikipedia.org/wiki/Barnett_Newman\">Barnett Newman\u003c/a> sitting and talking in his studio in front of his paintings. I can recall my excitement thinking, “Now this is it! This is the real deal!” As soon as it was over I went to a bookstore and bought the \u003ca href=\"http://www.amazon.com/Barnett-Newman-Thomas-B-Hess/dp/0870705008/ref=sr_1_1?ie=UTF8&s=books&qid=1202626087&sr=8-1\">Newman catalog\u003c/a> by Thomas Hess.\u003c/p>\n\u003cp>Soon after I graduated and took off for Europe to see paintings in the great picture galleries and museums. Barnett Newman was the farthest thing from my mind when I rode the escalator up to the galleries at the Centre Pompidou in Paris. My head was filled with the old masters and I was seeking Matisse. When I walked into a small room that was filled floor to ceiling with Newman’s \u003ca href=\"http://books.google.com/books?id=FM2BO8w2YZkC&pg=RA1-PA246&lpg=RA1-PA246&dq=shining+forth+centre+pompidou&source=web&ots=8L8qO5jw4E&sig=f3_bkzbnd1oo__A5L-9z0b7KbBU#PRA1-PA93,M1\">Shining Forth (to George)\u003c/a>, the experience was shattering.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/barnett-newman.jpg\" style=\"float: right;margin-left: 5px;margin-bottom: 10px;border: 1px solid black\">\u003cb>Shining Forth (to George)\u003c/b> is 9 1⁄2 feet high and 14 1⁄2 feet long. It has 3 vertical stripes of black oil paint running top to bottom on unprimed raw cotton canvas. He painted it in one afternoon in 1961 for his brother George, who had died earlier that year.\u003c/p>\n\u003cp>Nothing could have prepared me for the intense light coming off of it. With its utter simplicity, expanse and scale I had no coordinates for it. Every landmark was gone. It couldn’t have taken him more than an hour to do. And although I could see exactly what he had done, that didn’t explain anything. Here he was leaving open and uncovered everything I had been taught to cover up. I felt as if the ground was giving way beneath my feet and I had to leave the museum and sit down outside.\u003c/p>\n\u003cp>I was 22. It was the most radical painting I had ever seen. And it would take years to accept the implications of this experience, where for a moment I felt so exposed, so happy and so free.\u003c/p>\n\u003cp>\u003ca href=\"http://www.oblidi.net/artists/zurier/zurier.html\">John Zurier\u003c/a> is represented by \u003ca href=\"http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=18480&page_tab=Dealers_selling\">Gallery Paule Anglim, Larry Becker Contemporary Art, and Peter Blum\u003c/a>.\u003c/p>\n\u003cp>\u003cb>DEAN SMITH:\u003c/b> The year was 1978. I was 17, a nerdy, awkward kid from the ‘burbs with little exposure to fine art. Okay, I did have this glossy table book of the history of art that my parents, in some unarticulated desire of exposing me to “culture,” had given as a Christmas present many years before. But really no exposure whatsoever; certainly not live and not in person. And so I found myself one Sunday afternoon with my dad and my friend David at the \u003ca href=\"http://www.museumca.org/\">Oakland Museum of California\u003c/a>. What initially had brought us there has now faded from memory.\u003c/p>\n\u003cp>We entered the museum’s Great Hall — back then you reached the cavernous gallery from the elevated anteroom above, descending a staircase to the space below taking in the whole of the room as you did so (now they have sealed off that splendid, dramatic entry with offices — what a shame!) — and facing the staircase was this enormous canvas suffused entirely in orange. The glorious tonality of orange juice, so tangy yet sweet you could taste it, except for one corner of the painting (the bottom right, I believe) was raw fabric, defined with paint drips and ragged brush stroked edges.\u003c/p>\n\u003cp>I wanted to jump into the painting. Be in that space. Feel the color flood into my pores. In its unapologetic monochrome-ness the light it radiated gave me the profound impression of a happiness so utterly childlike that it could forever banish all the world’s dour gray-mindedness.\u003c/p>\n\u003cp>Dad and David just laughed and snorted. You know, the usual comments: “That’s not painting! I could do that!” that sort of thing. Not having the self-esteem let alone knowledge to defend such a work, I kept my mouth shut. But I thrilled to that painting — Yes!! Orange! How perfect in its simplicity, that a single color could so move me. Dad and David moved off into the other parts of the gallery dismissing all before them. I walked up to the label and read it: \u003ca href=\"http://www.askart.com/askart/t/sam_tchakalian/sam_tchakalian.aspx\">Sam Tchakalian\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4990.htm\">Orange Juice\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I am standing in an all-white gallery, trying to get a handle on what is “new” and “West Coast” about the folding screen before me. A lovely, substantial object, the screen features big round windows, like portholes. Each window holds a different colored design, sea anemones perhaps, or bright abstract patterns that resemble a sea urchin’s underbelly. The screen, made by Beatrice Tesdorf, is beautiful. There is something watery and mesmerizing about the glass. I imagine taking it between my teeth. I imagine standing there, forever, sinking into its deep, rich colors. I’ve had this response before, but in front of two very different types of objects, a set of breath-taking stained-glass windows, and a particularly fine color-field painting by Mark Rothko.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> is full of such beautiful objects, things that toe the line between “glamorous” and “prosaic.” Craft objects move me in a peculiar way. On a certain level, a bowl is a bowl, and one can never quite detach it from the mundane. Craft objects are the objects that live with us. They are, for the majority of us out there, the art of everyday life.\u003c/p>\n\u003cp>Art critics love to debate the line between “high” and “low” in art. When we speak of art, we descend into tangled webs of theory and aesthetics. Craft, with its connotations of the hand, and of labor, work, and physical skill, seems to live in another realm. Rightly or wrongly, I find craft more democratic than art. There’s something refreshing about going to a craft exhibition, falling in love with the objects, and then walking home with an exceptionally well-made piece — and then using that piece in everyday life.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> presents a multitude of objects — surfboards, vanity tables, earrings, evening bags — that are familiar and intimate, yet utterly exquisite. It is a big show with big ideas. Spread out across five separate venues, the exhibition (or constellation of exhibitions) draws from 170 artists, across 3 states and a variety of media. The exhibition takes up “the West Coast craft and design movement,” arguing that the West Coast has long been a source for fresh, daring design. There is, of course, a blurry line between craft (which is never mass-produced) and design (which can be mass-produced). But the curators of \u003cb>New West Coast Design\u003c/b> firmly situate contemporary West Coast craft and design within the modernist tradition. Whether handmade or mass-produced, these objects owe a collective debt to the Arts & Crafts movement on one hand, and modernist design on the other. This dichotomy gives \u003cb>New West Coast Design\u003c/b> a blurry theoretical framework, but allows the curators to include a truly sprawling array of objects.\u003c/p>\n\u003cp>At Velvet da Vinci, we find jewelry and metalwork from both ends of the spectrum, but with a marked emphasis on craft. Kim Eric Lilot’s \u003cb>Endangered Species Carousel\u003c/b> and Carol Salisbury’s \u003cb>Life Cycle of the Poppy\u003c/b> are classic examples of the jeweler’s art, while Judith Selby Lang’s \u003cb>Got Milk?\u003c/b> bracelet (made from milk-carton pull tabs) and Melissa Tolar’s assemblage brooches are less conventional. Most of the objects at Velvet da Vinci announced themselves as products of intense labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A walk through Velvet da Vinci clarifies that there are no dominant ideologies today, no hard and fast guidelines. Though most of the jewelry designers in \u003cb>New West Coast Design\u003c/b> owe something to modernism — here and there, we keep picking up echoes of Bauhaus, of Constructivism, even Minimalism — unlike their twentieth-century counterparts, these artists are everywhere.\u003c/p>\n\u003cp>The \u003cb>Contemporary Objects\u003c/b> portion of the show, on view at the Museum of Craft + Design, is just as broad and varied as the jewelry and metalwork portion at Velvet da Vinci. Today, designers shy away from dogma. There are many roads to design, and not all of them look the same. So we can have, in the same exhibition, a pair of minimalist translucent fiberglass surfboards, a strange rectangular felt (or boiled wool) chair by Mike and Maaike, and a scarab-shaped jewelry case by Allison MacLennan. The strongest objects at the Museum of Craft + Design were also the simplest ones. Several designers (artists?) eschewed the contemporary enthusiasm for baroque ornamentation, shaping delicate materials (glass, ceramics) into strong, graphic forms. Three plates by James Aarons floated on the walls, eerie, like black-rimmed moons, their pristine white surfaces crossed by a multitude of delicate, Agnes Martin-like lines. A set of graphic bowls by Christina Corbin popped against the museum’s all-white decor. Corbin’s bowls alternately brought to mind African pots and ’60s “op art.” There isn’t much to Lee Miltier’s handblown glassware, just a set of perfectly balanced volumes, all executed in paper-thin glass.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> confirmed that, yes, there is such a thing as strong new design on the West Coast. The exhibition is less clear on the “West Coast” portion. I left wondering what, if anything, unites these artists. I took the exhibition as a twenty-first century equivalent of late-nineteenth and early-twentieth century design expositions. These expositions functioned as a kind of visual sourcebook, delighting and inspiring visitors. \u003cb>New West Coast Design\u003c/b> did the same for me.\u003c/p>\n\u003cp>\u003cb>Contemporary Objects\u003c/b> is at the Museum of Craft + Design through April 27, 2008.\u003cbr>\u003cb>Jewelry & Metalwork\u003c/b> is at Velvet Da Vinci Gallery through February 17, 2008. \u003cb>New West Coast Design\u003c/b> exhibits include:\u003cbr>\u003cb>Is it a Fiber Show?\u003c/b> at Bucheon Gallery through February 16, 2006.\u003cbr> \u003cb>Book and Book Arts\u003c/b> at San Franciscio Center for the Book through April 25, 2008.\u003cbr>\u003cb>The State of the Art Quilt\u003c/b> at Art Works Downtown through February 28, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[\u003cb>NOTE:\u003c/b> Ceramic Artist James Aarons, whose work is mentioned in this article, is the partner of \u003cb>KQED Arts & Culture\u003c/b> Editor, Mark Taylor.]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am standing in an all-white gallery, trying to get a handle on what is “new” and “West Coast” about the folding screen before me. A lovely, substantial object, the screen features big round windows, like portholes. Each window holds a different colored design, sea anemones perhaps, or bright abstract patterns that resemble a sea urchin’s underbelly. The screen, made by Beatrice Tesdorf, is beautiful. There is something watery and mesmerizing about the glass. I imagine taking it between my teeth. I imagine standing there, forever, sinking into its deep, rich colors. I’ve had this response before, but in front of two very different types of objects, a set of breath-taking stained-glass windows, and a particularly fine color-field painting by Mark Rothko.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> is full of such beautiful objects, things that toe the line between “glamorous” and “prosaic.” Craft objects move me in a peculiar way. On a certain level, a bowl is a bowl, and one can never quite detach it from the mundane. Craft objects are the objects that live with us. They are, for the majority of us out there, the art of everyday life.\u003c/p>\n\u003cp>Art critics love to debate the line between “high” and “low” in art. When we speak of art, we descend into tangled webs of theory and aesthetics. Craft, with its connotations of the hand, and of labor, work, and physical skill, seems to live in another realm. Rightly or wrongly, I find craft more democratic than art. There’s something refreshing about going to a craft exhibition, falling in love with the objects, and then walking home with an exceptionally well-made piece — and then using that piece in everyday life.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> presents a multitude of objects — surfboards, vanity tables, earrings, evening bags — that are familiar and intimate, yet utterly exquisite. It is a big show with big ideas. Spread out across five separate venues, the exhibition (or constellation of exhibitions) draws from 170 artists, across 3 states and a variety of media. The exhibition takes up “the West Coast craft and design movement,” arguing that the West Coast has long been a source for fresh, daring design. There is, of course, a blurry line between craft (which is never mass-produced) and design (which can be mass-produced). But the curators of \u003cb>New West Coast Design\u003c/b> firmly situate contemporary West Coast craft and design within the modernist tradition. Whether handmade or mass-produced, these objects owe a collective debt to the Arts & Crafts movement on one hand, and modernist design on the other. This dichotomy gives \u003cb>New West Coast Design\u003c/b> a blurry theoretical framework, but allows the curators to include a truly sprawling array of objects.\u003c/p>\n\u003cp>At Velvet da Vinci, we find jewelry and metalwork from both ends of the spectrum, but with a marked emphasis on craft. Kim Eric Lilot’s \u003cb>Endangered Species Carousel\u003c/b> and Carol Salisbury’s \u003cb>Life Cycle of the Poppy\u003c/b> are classic examples of the jeweler’s art, while Judith Selby Lang’s \u003cb>Got Milk?\u003c/b> bracelet (made from milk-carton pull tabs) and Melissa Tolar’s assemblage brooches are less conventional. Most of the objects at Velvet da Vinci announced themselves as products of intense labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A walk through Velvet da Vinci clarifies that there are no dominant ideologies today, no hard and fast guidelines. Though most of the jewelry designers in \u003cb>New West Coast Design\u003c/b> owe something to modernism — here and there, we keep picking up echoes of Bauhaus, of Constructivism, even Minimalism — unlike their twentieth-century counterparts, these artists are everywhere.\u003c/p>\n\u003cp>The \u003cb>Contemporary Objects\u003c/b> portion of the show, on view at the Museum of Craft + Design, is just as broad and varied as the jewelry and metalwork portion at Velvet da Vinci. Today, designers shy away from dogma. There are many roads to design, and not all of them look the same. So we can have, in the same exhibition, a pair of minimalist translucent fiberglass surfboards, a strange rectangular felt (or boiled wool) chair by Mike and Maaike, and a scarab-shaped jewelry case by Allison MacLennan. The strongest objects at the Museum of Craft + Design were also the simplest ones. Several designers (artists?) eschewed the contemporary enthusiasm for baroque ornamentation, shaping delicate materials (glass, ceramics) into strong, graphic forms. Three plates by James Aarons floated on the walls, eerie, like black-rimmed moons, their pristine white surfaces crossed by a multitude of delicate, Agnes Martin-like lines. A set of graphic bowls by Christina Corbin popped against the museum’s all-white decor. Corbin’s bowls alternately brought to mind African pots and ’60s “op art.” There isn’t much to Lee Miltier’s handblown glassware, just a set of perfectly balanced volumes, all executed in paper-thin glass.\u003c/p>\n\u003cp>\u003cb>New West Coast Design\u003c/b> confirmed that, yes, there is such a thing as strong new design on the West Coast. The exhibition is less clear on the “West Coast” portion. I left wondering what, if anything, unites these artists. I took the exhibition as a twenty-first century equivalent of late-nineteenth and early-twentieth century design expositions. These expositions functioned as a kind of visual sourcebook, delighting and inspiring visitors. \u003cb>New West Coast Design\u003c/b> did the same for me.\u003c/p>\n\u003cp>\u003cb>Contemporary Objects\u003c/b> is at the Museum of Craft + Design through April 27, 2008.\u003cbr>\u003cb>Jewelry & Metalwork\u003c/b> is at Velvet Da Vinci Gallery through February 17, 2008. \u003cb>New West Coast Design\u003c/b> exhibits include:\u003cbr>\u003cb>Is it a Fiber Show?\u003c/b> at Bucheon Gallery through February 16, 2006.\u003cbr> \u003cb>Book and Book Arts\u003c/b> at San Franciscio Center for the Book through April 25, 2008.\u003cbr>\u003cb>The State of the Art Quilt\u003c/b> at Art Works Downtown through February 28, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[\u003cb>NOTE:\u003c/b> Ceramic Artist James Aarons, whose work is mentioned in this article, is the partner of \u003cb>KQED Arts & Culture\u003c/b> Editor, Mark Taylor.]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The experimental documentary \u003cb>de Young\u003c/b> is a portrait of the museum’s building in San Francisco. Focusing on the art contained within the grounds as well as the interaction between visitors and the architecture, this film was created by Peter Max Lawrence while working as an artist-in-residence under Ian McDonald during April 2007.\u003c/p>\n\u003cp>The music for this film was composed by pianist David Moore, who has released four albums to date: two for solo piano and two with his ensemble Bing & Ruth. He currently lives and works in Brooklyn, NY.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Geir Jordahl: Searching for True North",
"headTitle": "Geir Jordahl: Searching for True North | KQED",
"content": "\u003cp>There are numerous arresting, odd, and luminous images in the new exhibition of black and white photographs by Geir Jordahl, on view through March 4, 2008 at Modernbook Gallery in Palo Alto, but one of my favorites is perhaps the most ostensibly obvious. It depicts Pont du Gard, the famous Roman aqueduct in the south of France. It wasn’t the three-tiered engineering marvel itself that caught my eye (as a first-rate tourist destination and World Heritage Site, \u003ca href=\"http://en.wikipedia.org/wiki/Pont_du_Gard\" target=\"offsite\" rel=\"noopener\">Pont du Gard\u003c/a> is one of the most photographed objects on the planet) or the photograph’s composition (even the most hurried snapshot by the rankest amateur is organized enough to place the sky above the bridge and the Gard River below). Rather, it was the realization that I was looking at a determinedly horizontal structure in a deliberately vertical format that took me by surprise.\u003c/p>\n\u003cp>In fact, all of the 129 photographs in the new book titled \u003cb>Searching for True North\u003c/b>, whose publication coincides with this lovely little exhibition of the same name, are vertical panoramas, which Jordahl creates by simply rotating his Panon Widelux camera 90 degrees before clicking the shutter. The eye quickly adjusts to this new vertical version of what it had only moments earlier assumed to be a horizontal truth, and then, having embraced the new reality, it lingers on that aforementioned sky, which we must assume entered Jordahl’s camera bright and blue before leaving his darkroom a mottled atmosphere, splatter-painted in a thousand shades of gray. The eye surrenders: There’s so much more here than it usually has the pleasure of meeting.\u003c/p>\n\u003cp>Turns out that’s one of a handful of modest, but definitely not trivial, aims of this cohesive collection of photographs spanning 30 years of travels around the world: “The images in this book are about seeing the world beyond what is in front of our eyes,” Jordahl writes. At the same time, he’s drawn to “…places united in their celebration of the Earth and its interaction with human-made elements.” Which brings us back to Pont du Gard, a veritable sandwich of sky, human ingenuity, and river. Jordahl wants to have it both ways. On the one hand, he has no qualms about confounding us a bit by delivering a horizontal subject in a vertical format. The hidden textures his camera reveal add more fuzz, reading more like visual representations of emotion rather than mere marks of style. On the other hand, he likes to put us in places that are familiarized by human context, satisfying our ocular expectations of singular and even well-worn locales. As a viewer, I like being in the middle of this gentle tug of war.\u003c/p>\n\u003cp>The theme of surface and what lies beneath permeates most of the show’s other photographs. \u003cb>View near Carcassone, France, 2001\u003c/b> features a glaring white stone town on a hill, bathed in sunlight and framed by undergrowth, river, and the branches and leaves of what appears to be an enormous sycamore tree. The light on the town is so unnatural and the sun filtering through the leaves is so strange that at first I wondered if I wasn’t looking at a negative. In fact, I was looking at an image shot with infrared film, as were most of the photographs in the exhibition and book. In the same way that Jordahl turns panoramic photography on its ear (that’s about 90 degrees, right?), he turns the use of infrared film on its head. Infrared film reverses many of the tones you expect to see in a picture. Thus, even Jordahl’s choice of film forces the viewer to look at the place being depicted through fresh eyes.\u003c/p>\n\u003cp>The book’s cover photo of Canyonlands National Park, which is otherworldly enough without being upended by both camera and film choices, contrasts searing sandstone cliffs with a sky that appears to be filled simultaneously with stars, jet contrails, and the outline of a nebulae. Of course, it’s just the sun-drenched sky over Utah, but why write it off as such? Why not elevate it to the place it could be, the place we wouldn’t normally perceive? What’s refreshing about Jordahl’s work is that, in an age when we’ve become numb to the guilty pleasures of Photoshop, there’s nothing inherently fake about these pictures. Yes, the artist’s bag of tricks includes infrared film and panoramic cameras, but what we see is precisely what those tools and materials deliver, no more, no less.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That leads me to another seductive aspect of Jordahl’s work, the things he doesn’t show us. There are, for example, quite a few pictures of trees in this show, which are more natural subjects for vertically formatted photographs than, say, bridges. But I can’t recall a single tree photo at Modernbook that clearly documented the tops of any of them. It’s almost as if glimpsing a view of a tree’s crown is not the point anyway; it’s the view of the impending ascent, the journey to find true north, if you will, that really matters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Searching for True North\u003c/b> continues at Modernbook Gallery through March 4, 2008.\u003c/p>\n\n",
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"excerpt": "There are numerous arresting, odd, and luminous images in the new exhibition of black and white photographs by Geir Jordahl, on view through March 4, 2008 at Modernbook Gallery in Palo Alto, but one of my favorites is perhaps the most ostensibly obvious. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are numerous arresting, odd, and luminous images in the new exhibition of black and white photographs by Geir Jordahl, on view through March 4, 2008 at Modernbook Gallery in Palo Alto, but one of my favorites is perhaps the most ostensibly obvious. It depicts Pont du Gard, the famous Roman aqueduct in the south of France. It wasn’t the three-tiered engineering marvel itself that caught my eye (as a first-rate tourist destination and World Heritage Site, \u003ca href=\"http://en.wikipedia.org/wiki/Pont_du_Gard\" target=\"offsite\" rel=\"noopener\">Pont du Gard\u003c/a> is one of the most photographed objects on the planet) or the photograph’s composition (even the most hurried snapshot by the rankest amateur is organized enough to place the sky above the bridge and the Gard River below). Rather, it was the realization that I was looking at a determinedly horizontal structure in a deliberately vertical format that took me by surprise.\u003c/p>\n\u003cp>In fact, all of the 129 photographs in the new book titled \u003cb>Searching for True North\u003c/b>, whose publication coincides with this lovely little exhibition of the same name, are vertical panoramas, which Jordahl creates by simply rotating his Panon Widelux camera 90 degrees before clicking the shutter. The eye quickly adjusts to this new vertical version of what it had only moments earlier assumed to be a horizontal truth, and then, having embraced the new reality, it lingers on that aforementioned sky, which we must assume entered Jordahl’s camera bright and blue before leaving his darkroom a mottled atmosphere, splatter-painted in a thousand shades of gray. The eye surrenders: There’s so much more here than it usually has the pleasure of meeting.\u003c/p>\n\u003cp>Turns out that’s one of a handful of modest, but definitely not trivial, aims of this cohesive collection of photographs spanning 30 years of travels around the world: “The images in this book are about seeing the world beyond what is in front of our eyes,” Jordahl writes. At the same time, he’s drawn to “…places united in their celebration of the Earth and its interaction with human-made elements.” Which brings us back to Pont du Gard, a veritable sandwich of sky, human ingenuity, and river. Jordahl wants to have it both ways. On the one hand, he has no qualms about confounding us a bit by delivering a horizontal subject in a vertical format. The hidden textures his camera reveal add more fuzz, reading more like visual representations of emotion rather than mere marks of style. On the other hand, he likes to put us in places that are familiarized by human context, satisfying our ocular expectations of singular and even well-worn locales. As a viewer, I like being in the middle of this gentle tug of war.\u003c/p>\n\u003cp>The theme of surface and what lies beneath permeates most of the show’s other photographs. \u003cb>View near Carcassone, France, 2001\u003c/b> features a glaring white stone town on a hill, bathed in sunlight and framed by undergrowth, river, and the branches and leaves of what appears to be an enormous sycamore tree. The light on the town is so unnatural and the sun filtering through the leaves is so strange that at first I wondered if I wasn’t looking at a negative. In fact, I was looking at an image shot with infrared film, as were most of the photographs in the exhibition and book. In the same way that Jordahl turns panoramic photography on its ear (that’s about 90 degrees, right?), he turns the use of infrared film on its head. Infrared film reverses many of the tones you expect to see in a picture. Thus, even Jordahl’s choice of film forces the viewer to look at the place being depicted through fresh eyes.\u003c/p>\n\u003cp>The book’s cover photo of Canyonlands National Park, which is otherworldly enough without being upended by both camera and film choices, contrasts searing sandstone cliffs with a sky that appears to be filled simultaneously with stars, jet contrails, and the outline of a nebulae. Of course, it’s just the sun-drenched sky over Utah, but why write it off as such? Why not elevate it to the place it could be, the place we wouldn’t normally perceive? What’s refreshing about Jordahl’s work is that, in an age when we’ve become numb to the guilty pleasures of Photoshop, there’s nothing inherently fake about these pictures. Yes, the artist’s bag of tricks includes infrared film and panoramic cameras, but what we see is precisely what those tools and materials deliver, no more, no less.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That leads me to another seductive aspect of Jordahl’s work, the things he doesn’t show us. There are, for example, quite a few pictures of trees in this show, which are more natural subjects for vertically formatted photographs than, say, bridges. But I can’t recall a single tree photo at Modernbook that clearly documented the tops of any of them. It’s almost as if glimpsing a view of a tree’s crown is not the point anyway; it’s the view of the impending ascent, the journey to find true north, if you will, that really matters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Searching for True North\u003c/b> continues at Modernbook Gallery through March 4, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "M.I.A. at SFMOMA",
"headTitle": "M.I.A. at SFMOMA | KQED",
"content": "\u003cp>Let’s take a quick run through “\u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=11\" target=\"offsite\" rel=\"noopener\">Matisse and Beyond\u003c/a>,” the rotating exhibition of selections from SFMOMA’s permanent collection. Or maybe a brisk walk — I’m pretty sure running is still not allowed in the museum.\u003c/p>\n\u003cp>The first two galleries one enters feature the beginnings of 20th Century art in Europe — \u003ca href=\"http://collections.sfmoma.org/OBJ213.htm\" target=\"offsite\" rel=\"noopener\">Fauvism\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ25853.htm\" target=\"offsite\" rel=\"noopener\">Dada\u003c/a>, and \u003ca href=\"http://collections.sfmoma.org/OBJ89.htm\" target=\"offsite\" rel=\"noopener\">Cubism\u003c/a>. When you look around, please notice that all the paintings and sculptures are by men.\u003c/p>\n\u003cp>The third gallery offers the murmurings of early 20th Century art in America — a few \u003ca href=\"http://collections.sfmoma.org/OBJ103.htm\" target=\"offsite\" rel=\"noopener\">Precisionists\u003c/a>, some \u003ca href=\"http://collections.sfmoma.org/OBJ285.htm\" target=\"offsite\" rel=\"noopener\">Modernists\u003c/a> and two pieces by \u003ca href=\"http://collections.sfmoma.org/THA542*1%248548*671731\" target=\"offsite\" rel=\"noopener\">Georgia O’Keeffe\u003c/a>. This would also be the home to the Museum’s two Frida Kahlo paintings, but they are currently out on loan.\u003c/p>\n\u003cp>Next up are the galleries that house mostly pre-WW2 art from America and Europe — \u003ca href=\"http://collections.sfmoma.org/OBJ126318.htm\" target=\"offsite\" rel=\"noopener\">Surrealism\u003c/a>, the beginnings of \u003ca href=\"http://collections.sfmoma.org/OBJ4593.htm\" target=\"offsite\" rel=\"noopener\">Abstract Expressionism\u003c/a> and \u003ca href=\"http://collections.sfmoma.org/OBJ27665.htm\" target=\"offsite\" rel=\"noopener\">more Surrealism\u003c/a>. It’s a room that evokes that odd, super-sexualized moment in art that happened right before Germany got ambitious. By the way, no women artists are found here either.\u003c/p>\n\u003cp>Now we come to my favorite part of \u003cb>Matisse and Beyond\u003c/b>, the room full of \u003ca href=\"http://collections.sfmoma.org/OBJ185.htm\" target=\"offsite\" rel=\"noopener\">AbEx’ers\u003c/a>. The \u003ca href=\"http://collections.sfmoma.org/OBJ22031.htm\" target=\"offsite\" rel=\"noopener\">Rothko\u003c/a> is king of this gallery. There’s an anorexic \u003ca href=\"http://collections.sfmoma.org/OBJ37625.htm\" target=\"offsite\" rel=\"noopener\">Giacometti\u003c/a> sculpture, perhaps to remind you that the Abstract Expressionists were reacting to the War to End All Wars. Wait, slow down, you almost missed a painting by \u003ca href=\"http://collections.sfmoma.org/OBJ231.htm\" target=\"offsite\" rel=\"noopener\">Joan Mitchell\u003c/a>. One of the best post-war painters — and she’s female.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alright, we’ve just crossed the half-way point, and we’ve only seen work from two women artists. Hurry up, there must be more women artists on view somewhere in here. After all the 20th Century gave us \u003ca href=\"http://collections.sfmoma.org/OBJ259.htm\" target=\"offsite\" rel=\"noopener\">Jackson Pollock\u003c/a>, but it also gave us \u003ca href=\"http://images.google.com/images?q=lee+krasner&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&hs=uH1&pwst=1&um=1&ie=UTF-8&sa=X&oi=images&ct=title\" target=\"offsite\" rel=\"noopener\">Lee Krasner\u003c/a>.\u003c/p>\n\u003cp>A few paces more lead us through the shrine to the behemoth abstract struggles slathered together by \u003ca href=\"http://collections.sfmoma.org/OBJ316.htm\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>. No women artists are allowed in. Nor men for that matter. Still’s deal with the museum states that he gets the room to himself.\u003c/p>\n\u003cp>Now into two galleries of work from the ’60s – \u003ca href=\"http://collections.sfmoma.org/OBJ25833.htm\" target=\"offsite\" rel=\"noopener\">Neo-Dada\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ269.htm\" target=\"offsite\" rel=\"noopener\">Pop Art\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ164.htm\" target=\"offsite\" rel=\"noopener\">Minimalism\u003c/a> and the seeds of Performance and Conceptual art. As you leave the last of the two rooms you might notice the silvery Andy Warhol \u003ca href=\"http://collections.sfmoma.org/OBJ4176.htm\" target=\"offsite\" rel=\"noopener\">silkscreen of Elizabeth Taylor\u003c/a>. How about that — an image of woman on a horse, made by a man. You might also notice — I sure did — that for two consecutive rooms, there were no women artists on view.\u003c/p>\n\u003cp>Now we stumble into the ’80s and ’90s galleries, the last two rooms of \u003cb>Matisse and Beyond\u003c/b>. Immediately on the left, a \u003ca href=\"http://collections.sfmoma.org/OBJ121851.htm\" target=\"offsite\" rel=\"noopener\">Kiki Smith\u003c/a> bronze wall sculpture welcomes you. Further in is a \u003ca href=\"http://collections.sfmoma.org/OBJ123177.htm\" target=\"offsite\" rel=\"noopener\">Vija Celmins\u003c/a> painting of a warplane. On your right, an amazing painting by \u003ca href=\"http://collections.sfmoma.org/OBJ26942.htm\" target=\"offsite\" rel=\"noopener\">Kerry James Marshall\u003c/a> sings its way off the wall. Over there are two sculptural busts by Janine Antoni, beautifully understated but creepy (like the Smith, in a good way) and a quartet of drawings from SECA winner Rosana Castrillo Diaz. In front of you is \u003cb>Fire\u003c/b>, an installation by Teresita Fernandez, that seems to be getting in a fist fight for your attention with Jim Hodge’s gargantuan sculpture \u003ca href=\"http://collections.sfmoma.org/OBJ20917.htm\" target=\"offsite\" rel=\"noopener\">No Betweens\u003c/a>.\u003c/p>\n\u003cp>And with that, \u003cb>Matisse and Beyond\u003c/b> comes to a screeching halt. You’ve just seen 130 pieces of art, twelve of them by eight women artists, which works out to less than one in ten pieces.\u003c/p>\n\u003cp>If you think this simply reflects the demographics of the modern art world, you’ve been duped by SFMOMA. This does not reflect the art of the 20th Century. There were, in fact, more than a handful of women making museum-worthy art in the last hundred years.\u003c/p>\n\u003cp>Janet Bishop, curator in charge of \u003cb>Matisse and Beyond\u003c/b>, emails, “The historical portion of SFMOMA’s collection, like other modern collections, is definitely skewed toward work by men, which reflects the broader exhibiting and collecting patterns of the art world over the course of too much of the 20th century.”\u003c/p>\n\u003cp>“But,” Bishop continues, “fortunately, in recent decades, the situation has changed quite a lot. Women have a much greater prominence in the art world now, curators are more aware of issues of representation, and a much higher percentage of work by women now enters the collection every year.”\u003c/p>\n\u003cp>For instance, Bishop points out that this year, SFMOMA acquired the Fernandez and Antoni sculptures as well as a Louise Lawler piece (I’m a big fan) and \u003ca href=\"http://collections.sfmoma.org/OBJ126322.htm\" target=\"offsite\" rel=\"noopener\">a huge installation by Ann Hamilton\u003c/a>. As a matter of fact, in 2007, the painting and sculpture department purchased work by 10 women and 11 men. \u003c/p>\n\u003cp>It would seem we are living in a brighter tomorrow.\u003c/p>\n\u003cp>But why then has SFMOMA acknowledged that their collection of pre-Watergate art reflects a male-centric collecting pattern and let it go at that? We are constantly revising and reinterpreting history to fit the ideas of the day. Does the museum really want to continue to flaunt its mistakes?\u003c/p>\n\u003cp>An email from Frida Kahlo of the \u003ca href=\"http://www.guerrillagirls.com/\" target=\"offsite\" rel=\"noopener\">Guerilla Girls\u003c/a>, one of the spokeswomen for the art movement recently responsible for gains in equal representation for women artists, notes that the problem has been longstanding here. “We haven’t focused on the SF museums for a while but when we did, back in the 1980s, we found that the SFMOMA was the worst on the West Coast for showing women artists. We always liked saying that ‘Things were better for women artists in the West, except for San Francisco.'”\u003c/p>\n\u003cp>There are two very simple solutions to SFMOMA’s seemingly-sexist quandary. Either one, when implemented, would help make the place the world-class museum The City deserves.\u003c/p>\n\u003cp>The first answer is the most expensive and least likely to happen. The acquisitions committee could go out to market and pick up more historic pieces by women. \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=mary+cassatt\" target=\"offsite\" rel=\"noopener\">Mary Cassatt\u003c/a>, \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=Sonia+Delaunay\" target=\"offsite\" rel=\"noopener\">Sonia Delaunay\u003c/a>, \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=Lee+Krasner\" target=\"offsite\" rel=\"noopener\">Lee Krasner\u003c/a> and \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=suzanne+valadon\" target=\"offsite\" rel=\"noopener\">Suzanne Valadon\u003c/a> are still going for less money than their male counterparts.\u003c/p>\n\u003cp>An easier answer to SFMOMA’s embarrassing dilemma is for Janet Bishop to go to their warehouse and dig up more pieces by women artists and put them on view. Pieces from \u003ca href=\"http://collections.sfmoma.org/OBJ43.htm\" target=\"offsite\" rel=\"noopener\">Helen Lundeberg\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ321.htm\" target=\"offsite\" rel=\"noopener\">Helen Torr\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=helen+phillips&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Helen Phillips\u003c/a> or \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=anne+bremer&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Anne Bremer \u003c/a> — all would look terrific in the early 20th Century Americans.\u003c/p>\n\u003cp>Why not give that Rothko a breather and mix some more women in with Joan Mitchell? \u003ca href=\"http://collections.sfmoma.org/OBJ4942.htm\" target=\"offsite\" rel=\"noopener\">Nell Stinton\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4521.htm\" target=\"offsite\" rel=\"noopener\">Helen Frankenthaler\u003c/a> and \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=agnes+martin&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Agnes Martin\u003c/a> would strike up a fascinating conversation with Mitchell.\u003c/p>\n\u003cp>The Surrealists could certainly use something from \u003ca href=\"http://collections.sfmoma.org/OBJ151.htm\" target=\"offsite\" rel=\"noopener\">Barbara Hepworth\u003c/a> or \u003ca href=\"http://collections.sfmoma.org/THA814*1%248581*676255\" target=\"offsite\" rel=\"noopener\">Mary Callery\u003c/a>. They might even enjoy a real kick in the pants from Meret Oppenheim’s \u003ca href=\"http://collections.sfmoma.org/OBJ246.htm\" target=\"offsite\" rel=\"noopener\">Miss Gardenia\u003c/a>. \u003c/p>\n\u003cp>Why not break up the man-minefield of art that has Warhol’s \u003cb>National Velvet\u003c/b> holding it together with something from \u003ca href=\"http://collections.sfmoma.org/THA3893*1%248583*676372\" target=\"offsite\" rel=\"noopener\">Eva Hesse\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=alice+baber&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Alice Baber\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=baer&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Joe Baer \u003c/a>or African American abstractionist \u003ca href=\"http://collections.sfmoma.org/OBJ3488.htm\" target=\"offsite\" rel=\"noopener\">Ellen Banks\u003c/a>?\u003c/p>\n\u003cp>Last but not least, SFMOMA must consider hanging, somewhere, works from three Bay Area icons: \u003ca href=\"http://collections.sfmoma.org/THA187*1%248586*676677\" target=\"offsite\" rel=\"noopener\">Jay DeFeo\u003c/a>, \u003ca href=\"http://http://collections.sfmoma.org/THA897*1%248587*676776\" target=\"offsite\" rel=\"noopener\">Joan Brown\u003c/a> and \u003ca href=\"http://collections.sfmoma.org/OBJ4510.htm\" target=\"offsite\" rel=\"noopener\">Amy Flemming\u003c/a>. These San Franciscans wrestled with their craft, and came out victorious. They need to be celebrated equally with the Clyfford Stills and \u003ca href=\"http://collections.sfmoma.org/OBJ55.htm\" target=\"offsite\" rel=\"noopener\">David Park\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hey SFMOMA, we’re getting on this kinda late, but how about this for a new year’s resolution? A more equitable view of women artists in \u003cb>Matisse and Beyond\u003c/b>. You can do it — you’ve already got the goods.\u003c/p>\n\n",
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"excerpt": "Let's take a quick run through \"\u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=11\" target=\"offsite\" rel=\"noopener\">Matisse and Beyond\u003c/a>,\" the rotating exhibition of selections from SFMOMA's permanent collection. Or maybe a brisk walk -- I'm pretty sure running is still not allowed in the museum.",
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"description": "Let's take a quick run through "Matisse and Beyond," the rotating exhibition of selections from SFMOMA's permanent collection. Or maybe a brisk walk -- I'm pretty sure running is still not allowed in the museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s take a quick run through “\u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=11\" target=\"offsite\" rel=\"noopener\">Matisse and Beyond\u003c/a>,” the rotating exhibition of selections from SFMOMA’s permanent collection. Or maybe a brisk walk — I’m pretty sure running is still not allowed in the museum.\u003c/p>\n\u003cp>The first two galleries one enters feature the beginnings of 20th Century art in Europe — \u003ca href=\"http://collections.sfmoma.org/OBJ213.htm\" target=\"offsite\" rel=\"noopener\">Fauvism\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ25853.htm\" target=\"offsite\" rel=\"noopener\">Dada\u003c/a>, and \u003ca href=\"http://collections.sfmoma.org/OBJ89.htm\" target=\"offsite\" rel=\"noopener\">Cubism\u003c/a>. When you look around, please notice that all the paintings and sculptures are by men.\u003c/p>\n\u003cp>The third gallery offers the murmurings of early 20th Century art in America — a few \u003ca href=\"http://collections.sfmoma.org/OBJ103.htm\" target=\"offsite\" rel=\"noopener\">Precisionists\u003c/a>, some \u003ca href=\"http://collections.sfmoma.org/OBJ285.htm\" target=\"offsite\" rel=\"noopener\">Modernists\u003c/a> and two pieces by \u003ca href=\"http://collections.sfmoma.org/THA542*1%248548*671731\" target=\"offsite\" rel=\"noopener\">Georgia O’Keeffe\u003c/a>. This would also be the home to the Museum’s two Frida Kahlo paintings, but they are currently out on loan.\u003c/p>\n\u003cp>Next up are the galleries that house mostly pre-WW2 art from America and Europe — \u003ca href=\"http://collections.sfmoma.org/OBJ126318.htm\" target=\"offsite\" rel=\"noopener\">Surrealism\u003c/a>, the beginnings of \u003ca href=\"http://collections.sfmoma.org/OBJ4593.htm\" target=\"offsite\" rel=\"noopener\">Abstract Expressionism\u003c/a> and \u003ca href=\"http://collections.sfmoma.org/OBJ27665.htm\" target=\"offsite\" rel=\"noopener\">more Surrealism\u003c/a>. It’s a room that evokes that odd, super-sexualized moment in art that happened right before Germany got ambitious. By the way, no women artists are found here either.\u003c/p>\n\u003cp>Now we come to my favorite part of \u003cb>Matisse and Beyond\u003c/b>, the room full of \u003ca href=\"http://collections.sfmoma.org/OBJ185.htm\" target=\"offsite\" rel=\"noopener\">AbEx’ers\u003c/a>. The \u003ca href=\"http://collections.sfmoma.org/OBJ22031.htm\" target=\"offsite\" rel=\"noopener\">Rothko\u003c/a> is king of this gallery. There’s an anorexic \u003ca href=\"http://collections.sfmoma.org/OBJ37625.htm\" target=\"offsite\" rel=\"noopener\">Giacometti\u003c/a> sculpture, perhaps to remind you that the Abstract Expressionists were reacting to the War to End All Wars. Wait, slow down, you almost missed a painting by \u003ca href=\"http://collections.sfmoma.org/OBJ231.htm\" target=\"offsite\" rel=\"noopener\">Joan Mitchell\u003c/a>. One of the best post-war painters — and she’s female.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alright, we’ve just crossed the half-way point, and we’ve only seen work from two women artists. Hurry up, there must be more women artists on view somewhere in here. After all the 20th Century gave us \u003ca href=\"http://collections.sfmoma.org/OBJ259.htm\" target=\"offsite\" rel=\"noopener\">Jackson Pollock\u003c/a>, but it also gave us \u003ca href=\"http://images.google.com/images?q=lee+krasner&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&hs=uH1&pwst=1&um=1&ie=UTF-8&sa=X&oi=images&ct=title\" target=\"offsite\" rel=\"noopener\">Lee Krasner\u003c/a>.\u003c/p>\n\u003cp>A few paces more lead us through the shrine to the behemoth abstract struggles slathered together by \u003ca href=\"http://collections.sfmoma.org/OBJ316.htm\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>. No women artists are allowed in. Nor men for that matter. Still’s deal with the museum states that he gets the room to himself.\u003c/p>\n\u003cp>Now into two galleries of work from the ’60s – \u003ca href=\"http://collections.sfmoma.org/OBJ25833.htm\" target=\"offsite\" rel=\"noopener\">Neo-Dada\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ269.htm\" target=\"offsite\" rel=\"noopener\">Pop Art\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ164.htm\" target=\"offsite\" rel=\"noopener\">Minimalism\u003c/a> and the seeds of Performance and Conceptual art. As you leave the last of the two rooms you might notice the silvery Andy Warhol \u003ca href=\"http://collections.sfmoma.org/OBJ4176.htm\" target=\"offsite\" rel=\"noopener\">silkscreen of Elizabeth Taylor\u003c/a>. How about that — an image of woman on a horse, made by a man. You might also notice — I sure did — that for two consecutive rooms, there were no women artists on view.\u003c/p>\n\u003cp>Now we stumble into the ’80s and ’90s galleries, the last two rooms of \u003cb>Matisse and Beyond\u003c/b>. Immediately on the left, a \u003ca href=\"http://collections.sfmoma.org/OBJ121851.htm\" target=\"offsite\" rel=\"noopener\">Kiki Smith\u003c/a> bronze wall sculpture welcomes you. Further in is a \u003ca href=\"http://collections.sfmoma.org/OBJ123177.htm\" target=\"offsite\" rel=\"noopener\">Vija Celmins\u003c/a> painting of a warplane. On your right, an amazing painting by \u003ca href=\"http://collections.sfmoma.org/OBJ26942.htm\" target=\"offsite\" rel=\"noopener\">Kerry James Marshall\u003c/a> sings its way off the wall. Over there are two sculptural busts by Janine Antoni, beautifully understated but creepy (like the Smith, in a good way) and a quartet of drawings from SECA winner Rosana Castrillo Diaz. In front of you is \u003cb>Fire\u003c/b>, an installation by Teresita Fernandez, that seems to be getting in a fist fight for your attention with Jim Hodge’s gargantuan sculpture \u003ca href=\"http://collections.sfmoma.org/OBJ20917.htm\" target=\"offsite\" rel=\"noopener\">No Betweens\u003c/a>.\u003c/p>\n\u003cp>And with that, \u003cb>Matisse and Beyond\u003c/b> comes to a screeching halt. You’ve just seen 130 pieces of art, twelve of them by eight women artists, which works out to less than one in ten pieces.\u003c/p>\n\u003cp>If you think this simply reflects the demographics of the modern art world, you’ve been duped by SFMOMA. This does not reflect the art of the 20th Century. There were, in fact, more than a handful of women making museum-worthy art in the last hundred years.\u003c/p>\n\u003cp>Janet Bishop, curator in charge of \u003cb>Matisse and Beyond\u003c/b>, emails, “The historical portion of SFMOMA’s collection, like other modern collections, is definitely skewed toward work by men, which reflects the broader exhibiting and collecting patterns of the art world over the course of too much of the 20th century.”\u003c/p>\n\u003cp>“But,” Bishop continues, “fortunately, in recent decades, the situation has changed quite a lot. Women have a much greater prominence in the art world now, curators are more aware of issues of representation, and a much higher percentage of work by women now enters the collection every year.”\u003c/p>\n\u003cp>For instance, Bishop points out that this year, SFMOMA acquired the Fernandez and Antoni sculptures as well as a Louise Lawler piece (I’m a big fan) and \u003ca href=\"http://collections.sfmoma.org/OBJ126322.htm\" target=\"offsite\" rel=\"noopener\">a huge installation by Ann Hamilton\u003c/a>. As a matter of fact, in 2007, the painting and sculpture department purchased work by 10 women and 11 men. \u003c/p>\n\u003cp>It would seem we are living in a brighter tomorrow.\u003c/p>\n\u003cp>But why then has SFMOMA acknowledged that their collection of pre-Watergate art reflects a male-centric collecting pattern and let it go at that? We are constantly revising and reinterpreting history to fit the ideas of the day. Does the museum really want to continue to flaunt its mistakes?\u003c/p>\n\u003cp>An email from Frida Kahlo of the \u003ca href=\"http://www.guerrillagirls.com/\" target=\"offsite\" rel=\"noopener\">Guerilla Girls\u003c/a>, one of the spokeswomen for the art movement recently responsible for gains in equal representation for women artists, notes that the problem has been longstanding here. “We haven’t focused on the SF museums for a while but when we did, back in the 1980s, we found that the SFMOMA was the worst on the West Coast for showing women artists. We always liked saying that ‘Things were better for women artists in the West, except for San Francisco.'”\u003c/p>\n\u003cp>There are two very simple solutions to SFMOMA’s seemingly-sexist quandary. Either one, when implemented, would help make the place the world-class museum The City deserves.\u003c/p>\n\u003cp>The first answer is the most expensive and least likely to happen. The acquisitions committee could go out to market and pick up more historic pieces by women. \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=mary+cassatt\" target=\"offsite\" rel=\"noopener\">Mary Cassatt\u003c/a>, \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=Sonia+Delaunay\" target=\"offsite\" rel=\"noopener\">Sonia Delaunay\u003c/a>, \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=Lee+Krasner\" target=\"offsite\" rel=\"noopener\">Lee Krasner\u003c/a> and \u003ca href=\"http://www.artnet.com/ag/fulltextsearch.asp?searchstring=suzanne+valadon\" target=\"offsite\" rel=\"noopener\">Suzanne Valadon\u003c/a> are still going for less money than their male counterparts.\u003c/p>\n\u003cp>An easier answer to SFMOMA’s embarrassing dilemma is for Janet Bishop to go to their warehouse and dig up more pieces by women artists and put them on view. Pieces from \u003ca href=\"http://collections.sfmoma.org/OBJ43.htm\" target=\"offsite\" rel=\"noopener\">Helen Lundeberg\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ321.htm\" target=\"offsite\" rel=\"noopener\">Helen Torr\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=helen+phillips&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Helen Phillips\u003c/a> or \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=anne+bremer&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Anne Bremer \u003c/a> — all would look terrific in the early 20th Century Americans.\u003c/p>\n\u003cp>Why not give that Rothko a breather and mix some more women in with Joan Mitchell? \u003ca href=\"http://collections.sfmoma.org/OBJ4942.htm\" target=\"offsite\" rel=\"noopener\">Nell Stinton\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4521.htm\" target=\"offsite\" rel=\"noopener\">Helen Frankenthaler\u003c/a> and \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=agnes+martin&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Agnes Martin\u003c/a> would strike up a fascinating conversation with Mitchell.\u003c/p>\n\u003cp>The Surrealists could certainly use something from \u003ca href=\"http://collections.sfmoma.org/OBJ151.htm\" target=\"offsite\" rel=\"noopener\">Barbara Hepworth\u003c/a> or \u003ca href=\"http://collections.sfmoma.org/THA814*1%248581*676255\" target=\"offsite\" rel=\"noopener\">Mary Callery\u003c/a>. They might even enjoy a real kick in the pants from Meret Oppenheim’s \u003ca href=\"http://collections.sfmoma.org/OBJ246.htm\" target=\"offsite\" rel=\"noopener\">Miss Gardenia\u003c/a>. \u003c/p>\n\u003cp>Why not break up the man-minefield of art that has Warhol’s \u003cb>National Velvet\u003c/b> holding it together with something from \u003ca href=\"http://collections.sfmoma.org/THA3893*1%248583*676372\" target=\"offsite\" rel=\"noopener\">Eva Hesse\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=alice+baber&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Alice Baber\u003c/a>, \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=baer&sp_q_1=&sp_x_1=Department&sp_p_1=phrase&sp_k=collections&sp_c=50&sp-q-2=s2&sp-i-2=-1&sp-q-required-2=-1\" target=\"offsite\" rel=\"noopener\">Joe Baer \u003c/a>or African American abstractionist \u003ca href=\"http://collections.sfmoma.org/OBJ3488.htm\" target=\"offsite\" rel=\"noopener\">Ellen Banks\u003c/a>?\u003c/p>\n\u003cp>Last but not least, SFMOMA must consider hanging, somewhere, works from three Bay Area icons: \u003ca href=\"http://collections.sfmoma.org/THA187*1%248586*676677\" target=\"offsite\" rel=\"noopener\">Jay DeFeo\u003c/a>, \u003ca href=\"http://http://collections.sfmoma.org/THA897*1%248587*676776\" target=\"offsite\" rel=\"noopener\">Joan Brown\u003c/a> and \u003ca href=\"http://collections.sfmoma.org/OBJ4510.htm\" target=\"offsite\" rel=\"noopener\">Amy Flemming\u003c/a>. These San Franciscans wrestled with their craft, and came out victorious. They need to be celebrated equally with the Clyfford Stills and \u003ca href=\"http://collections.sfmoma.org/OBJ55.htm\" target=\"offsite\" rel=\"noopener\">David Park\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey SFMOMA, we’re getting on this kinda late, but how about this for a new year’s resolution? A more equitable view of women artists in \u003cb>Matisse and Beyond\u003c/b>. You can do it — you’ve already got the goods.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a satellite venue for the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/12/29/HOC9U2H2E.DTL/\">New West Coast Design\u003c/a> exhibition, Bucheon gallery breaks its mold this month with a soft-sided show of fibrous artworks produced by some very talented left coasters. The exhibition’s title cleverly poses the question, \u003cb>Is it a Fiber Show?\u003c/b> but doesn’t provide a clear answer. It might be a fiber show, but it’s also a sculpture show and a steel-wool-and-feathers show. It’s an animal show, a ceramic underpants show, a design show, and a fleece cactus show. The show is whatever you want it to be.\u003c/p>\n\u003cp>The \u003cb>New West Coast Design\u003c/b> curators have done us a favor. They’ve journeyed through the three westernmost contiguous states of America, plucked the crème de la crème of new art and design and brought it home for us to see. Out of the six venues where these delectable, hand-picked objects will be on display, bump Bucheon Gallery to the top of your list so you can decide for yourself whether or not it’s a fiber show. Emma Luna’s trompe l’oeil piles of tightie-whities and washcloths (made of ceramic but expertly rendered to look like fabric) will surely confuse your answer. It could be called a collective filament show. Or an “art with a relationship to fiber” show.\u003c/p>\n\u003cp>The collection is unintentionally heavy with animal imagery. Mandy Greer’s \u003cb>Wolf Princess\u003c/b> sculpture greets you at the door, cleverly dressed in sheep’s clothing. Greer’s other sculptures include a \u003cb>Parrot Princess\u003c/b> and a pathetically fabulous pig, made of a soiled pink blanket and dressed up with glittery fabric flowers. Then there are Misako Inaoka’s scientifically curious hybrid birds — you’ll notice a mossy-looking \u003cb>frogbird\u003c/b> that croaks and puffs its neck out like a frog when its motion sensor kicks in. (See \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=11990\">Gallery Crawl\u003c/a> video of Inaoka’s 2006 show at Blankspace.) A few of \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=15846/\">Adela Akers’s\u003c/a> masterfully-woven wall hangings are on display, and, while they don’t look like animals, they are woven with horsehair.\u003c/p>\n\u003cp>The undeniable gem of the show is \u003ca href=\"http://www.marthasue.net/\">Martha Sue Harris’s\u003c/a> incredible desert landscape installation made of fleece cacti with exposed roots stretching beneath the velvety ground from which they’ve artificially grown. Tiny creatures and delicate details peek out from the fantastically sculpted, plush plant life. Also on display is Harris’ 2006 stop-motion animation collaboration Jim Coursey, \u003cb>Flaming Spider Root\u003c/b>, a film about a cheeky plant who eats a flying mothwart. (See \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=978\">Gallery Crawl\u003c/a> video of Harris’s 2006 show at 33 Grand.)\u003c/p>\n\u003cp>\u003cb>Is it a Fiber Show?\u003c/b> runs through February 16, 2008 at Bucheon Gallery. \u003cb>New West Coast Design\u003c/b> exhibits include:\u003cbr>\u003cb>Contemporary Objects\u003c/b> at the Museum of Craft + Design through April 27, 2008.\u003cbr>\u003cb>Jewelry & Metalwork\u003c/b> at Velvet Da Vinci Gallery through February 17, 2008.\u003cbr>\u003cb>Book and Book Arts\u003c/b> at San Franciscio Center for the Book through April 25, 2008.\u003cbr>\u003cb>The State of the Art Quilt\u003c/b> at Art Works Downtown through February 28, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a satellite venue for the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/12/29/HOC9U2H2E.DTL/\">New West Coast Design\u003c/a> exhibition, Bucheon gallery breaks its mold this month with a soft-sided show of fibrous artworks produced by some very talented left coasters. The exhibition’s title cleverly poses the question, \u003cb>Is it a Fiber Show?\u003c/b> but doesn’t provide a clear answer. It might be a fiber show, but it’s also a sculpture show and a steel-wool-and-feathers show. It’s an animal show, a ceramic underpants show, a design show, and a fleece cactus show. The show is whatever you want it to be.\u003c/p>\n\u003cp>The \u003cb>New West Coast Design\u003c/b> curators have done us a favor. They’ve journeyed through the three westernmost contiguous states of America, plucked the crème de la crème of new art and design and brought it home for us to see. Out of the six venues where these delectable, hand-picked objects will be on display, bump Bucheon Gallery to the top of your list so you can decide for yourself whether or not it’s a fiber show. Emma Luna’s trompe l’oeil piles of tightie-whities and washcloths (made of ceramic but expertly rendered to look like fabric) will surely confuse your answer. It could be called a collective filament show. Or an “art with a relationship to fiber” show.\u003c/p>\n\u003cp>The collection is unintentionally heavy with animal imagery. Mandy Greer’s \u003cb>Wolf Princess\u003c/b> sculpture greets you at the door, cleverly dressed in sheep’s clothing. Greer’s other sculptures include a \u003cb>Parrot Princess\u003c/b> and a pathetically fabulous pig, made of a soiled pink blanket and dressed up with glittery fabric flowers. Then there are Misako Inaoka’s scientifically curious hybrid birds — you’ll notice a mossy-looking \u003cb>frogbird\u003c/b> that croaks and puffs its neck out like a frog when its motion sensor kicks in. (See \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=11990\">Gallery Crawl\u003c/a> video of Inaoka’s 2006 show at Blankspace.) A few of \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=15846/\">Adela Akers’s\u003c/a> masterfully-woven wall hangings are on display, and, while they don’t look like animals, they are woven with horsehair.\u003c/p>\n\u003cp>The undeniable gem of the show is \u003ca href=\"http://www.marthasue.net/\">Martha Sue Harris’s\u003c/a> incredible desert landscape installation made of fleece cacti with exposed roots stretching beneath the velvety ground from which they’ve artificially grown. Tiny creatures and delicate details peek out from the fantastically sculpted, plush plant life. Also on display is Harris’ 2006 stop-motion animation collaboration Jim Coursey, \u003cb>Flaming Spider Root\u003c/b>, a film about a cheeky plant who eats a flying mothwart. (See \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=978\">Gallery Crawl\u003c/a> video of Harris’s 2006 show at 33 Grand.)\u003c/p>\n\u003cp>\u003cb>Is it a Fiber Show?\u003c/b> runs through February 16, 2008 at Bucheon Gallery. \u003cb>New West Coast Design\u003c/b> exhibits include:\u003cbr>\u003cb>Contemporary Objects\u003c/b> at the Museum of Craft + Design through April 27, 2008.\u003cbr>\u003cb>Jewelry & Metalwork\u003c/b> at Velvet Da Vinci Gallery through February 17, 2008.\u003cbr>\u003cb>Book and Book Arts\u003c/b> at San Franciscio Center for the Book through April 25, 2008.\u003cbr>\u003cb>The State of the Art Quilt\u003c/b> at Art Works Downtown through February 28, 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I fell for Mel Kadel’s drawings the instant I saw them. She uses pen and ink on discolored papers, creating contemplative, dream-like scenes with her mostly female characters. There are often twists and piles of patterned layers in the images, drawn meticulously with a subtle, warm palette. Kadel’s style is consistent and distinctive, making each piece feel familiar. Several of her drawings are on view in \u003cb>Beautiful Moment\u003c/b>, this month’s group show at the Shooting Gallery. The excitement of seeing Kadel’s work in person for the first time inspired me to ask her for a little interview:\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> How long does it take to create one of your larger pieces? Do you work on more than one piece at a time?\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> If I’m focused on one large piece, it might take me a couple weeks to finish. But, it’s hard to gauge. I usually have a couple drawings going that I bounce back and forth on. I like having something around for awhile, so that I can keep looking at it and scratching on it.\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> Where do your characters come from?\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> There is a recurring girl that shows up in most of my drawings right now, but it’s no one specific. Her clothes, hair, and weight will change, but it always seems to be her. She is a constant that I use to help tell a story, and she’s someone I want people to relate to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> For some reason the people in your drawings remind me of \u003ca href=\"http://www.amazon.com/gp/reader/8424133498/ref=sib_dp_pt/104-5808204-1733564#reader-link\" target=\"offsite\" rel=\"noopener\">Tomie DePaola’s\u003c/a> childrens’ book illustrations, did you happen to read his books when you were a kid?\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> I didn’t read DePaola’s books. When I was I kid, Shel Silverstein and Maurice Sendak were a couple of my favorites.\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> I read on \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=682\" target=\"offsite\" rel=\"noopener\">Fecal Face\u003c/a> that you stain some of your paper with coffee — do you use coffee with cream and/or sugar?\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> The paper likes it’s coffee black.\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> Have you worked with fabric? You render patterns really nicely.\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> I haven’t worked with fabric yet. But I’d love to. For some reason, I really want to make socks and wallpaper.\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> Looking at your work, I get a sense of camaraderie and friendship because of the way the characters support and balance each other. Can you say a little bit about what influences your drawings?\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> For a long time I drew these very singular images, where there was just one character in a drawing that was facing a challenge. I still do that, but lately I’ve been more attracted to groups of people. There is something more positive to me about depicting a struggle or a scenario, when there is that support system to play off of.\u003c/p>\n\u003cp>\u003cb>KF:\u003c/b> Thanks again, Mel. Not to get mushy, but I’m really stoked I had the opportunity to e-talk to you.\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> Aw…thanks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beautiful Moment\u003c/b>, featuring artwork by Mel Kadel, is at Shooting Gallery in San Francisco through February 8, 2008. Mel Kadel has a solo show opening February 9, 2008 at Richard Heller Gallery in Los Angeles.\u003c/p>\n\n",
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"content": "\u003cp>In the gallery, Jeff Wall’s lightboxes have a commanding physical presence. One of Wall’s larger lightboxes can cover most of a good-sized wall. They can be overwhelming, gigantic, in relation to the spectator’s body, Wall’s backlit panels inflate the humble photograph to a grand scale.\u003c/p>\n\u003cp>Wall’s \u003cb>After Invisible Man\u003c/b> (1999-2000) stands over 8 feet tall and is almost six feet wide. Structured like a Baroque painting, the photograph advances in spirals, bringing us to the image’s emotional center, forgoing clarity of line in favor of volume and mass. We cannot read it as one gestalt whole, as we might read Cartier-Bresson’s “decisive moment.” We have only the figure, lost in his mysterious task, and his equally illegible environment. Wall gives us a photograph that reads with the intensity and complexity of an Old Master painting.\u003c/p>\n\u003cp>We react to Wall’s photograph as we might react to a painting. This is no accident. Throughout his career, Wall has referenced painting — especially European Old Masters — as both a source and a foil for his practice. Wall’s approach to photography can best be described as “painting with photographs.” The SFMOMA’s current retrospective provides visitors with a bird’s-eye view of Wall’s career, allowing us to track Wall’s development of this painterly photography. We watch as Wall refines his understanding of the photograph, first pushing at the boundary between painting and photography, then pulling back.\u003c/p>\n\u003cp>The lightboxes’ sense of monumentality and their “unnatural” gigantism were both calibrated moves, part of Wall’s desire to forge a new direction in photography. Wall developed his signature style during conceptual art’s heyday. He began in a completely different place, creating small, intimate pieces similar to Dan Graham’s “Homes for America” or Robert Smithson’s “Monuments of the Passaic.” He then dabbled in film, working on several experimental pieces that were never completed. Wall supposedly “stumbled” upon his signature lightbox style while riding a bus in Barcelona. The year was 1977, and Wall felt blocked. He had just quit making films, because he didn’t think he was a “good collaborator.” In Europe, Wall toured the major museums, paying special interest to Old Master paintings — Velazquez, Manet, Degas, Goya — seeking to push his photography in the same direction, to be “painterly” and not graphic. \u003c/p>\n\u003cp>“In the 1970s,” Wall has said, “I felt I had to stay away from what I then saw as a beautiful canon of photography… epitomized to me by two books: Walker Evans’s \u003cb>American Photographs\u003c/b> and Robert Frank’s \u003cb>The Americans\u003c/b>.” Wall’s desire for a painterly aesthetic derived from his desire to snatch photography away from the snapshot, away from straight photography’s modernist mainstream, in order to forge a more relevant form.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wall rejected straight photography’s injunction that the photograph should be a straight, unadulterated document of reality. He preferred to treat each image as a director might treat a film still. Images could be staged. The film could be manipulated. And indeed, Wall took full advantage of his tools. Without digital manipulation, photographs like “A Sudden Gust of Wind (After Hokusai)” (1995) would not have been possible. These staged scenes always carry a certain tension between realism and idealism, as if Wall were uncomfortable with the idea of carrying painting’s potential for idealization and subjectivity over into photography’s realm.\u003c/p>\n\u003cp>Yet real as Jeff Wall’s details might appear, they, too, are dramatized. Part of Wall’s mise-en-scene, they form the foundation of the photograph’s psychological drama. And here we return to the Old Masters’ carefully groomed canvases. Wall’s photographs move away from treating the photographic image as a series of fragments, pulled from the world, to treating the photographic image as an integrated whole, a collection of carefully orchestrated, psychologically motivated parts. Under Wall’s hand, the photograph takes on some of painting’s emotional charge, concerned less with documenting reality than with psychology, narrative, and emotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jeff Wall\u003c/b> is at SFMOMA through January 27,2008.\u003c/p>\n\n",
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"excerpt": "In the gallery, Jeff Wall's lightboxes have a commanding physical presence. One of Wall's larger lightboxes can cover most of a good-sized wall. They can be overwhelming, gigantic, in relation to the spectator's body, Wall's backlit panels inflate the humble photograph to a grand scale. \u003cp>Wall's \u003cb>After Invisible Man\u003c/b> (1999-2000) stands over 8 feet tall and is almost six feet wide. Structured like a Baroque painting, the photograph advances in spirals, bringing us to the image's emotional center, forgoing clarity of line in favor of volume and mass. We cannot read it as one gestalt whole, as we might read Cartier-Bresson's \"decisive moment.\" We have only the figure, lost in his mysterious task, and his equally illegible environment. Wall gives us a photograph that reads with the intensity and complexity of an Old Master painting.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the gallery, Jeff Wall’s lightboxes have a commanding physical presence. One of Wall’s larger lightboxes can cover most of a good-sized wall. They can be overwhelming, gigantic, in relation to the spectator’s body, Wall’s backlit panels inflate the humble photograph to a grand scale.\u003c/p>\n\u003cp>Wall’s \u003cb>After Invisible Man\u003c/b> (1999-2000) stands over 8 feet tall and is almost six feet wide. Structured like a Baroque painting, the photograph advances in spirals, bringing us to the image’s emotional center, forgoing clarity of line in favor of volume and mass. We cannot read it as one gestalt whole, as we might read Cartier-Bresson’s “decisive moment.” We have only the figure, lost in his mysterious task, and his equally illegible environment. Wall gives us a photograph that reads with the intensity and complexity of an Old Master painting.\u003c/p>\n\u003cp>We react to Wall’s photograph as we might react to a painting. This is no accident. Throughout his career, Wall has referenced painting — especially European Old Masters — as both a source and a foil for his practice. Wall’s approach to photography can best be described as “painting with photographs.” The SFMOMA’s current retrospective provides visitors with a bird’s-eye view of Wall’s career, allowing us to track Wall’s development of this painterly photography. We watch as Wall refines his understanding of the photograph, first pushing at the boundary between painting and photography, then pulling back.\u003c/p>\n\u003cp>The lightboxes’ sense of monumentality and their “unnatural” gigantism were both calibrated moves, part of Wall’s desire to forge a new direction in photography. Wall developed his signature style during conceptual art’s heyday. He began in a completely different place, creating small, intimate pieces similar to Dan Graham’s “Homes for America” or Robert Smithson’s “Monuments of the Passaic.” He then dabbled in film, working on several experimental pieces that were never completed. Wall supposedly “stumbled” upon his signature lightbox style while riding a bus in Barcelona. The year was 1977, and Wall felt blocked. He had just quit making films, because he didn’t think he was a “good collaborator.” In Europe, Wall toured the major museums, paying special interest to Old Master paintings — Velazquez, Manet, Degas, Goya — seeking to push his photography in the same direction, to be “painterly” and not graphic. \u003c/p>\n\u003cp>“In the 1970s,” Wall has said, “I felt I had to stay away from what I then saw as a beautiful canon of photography… epitomized to me by two books: Walker Evans’s \u003cb>American Photographs\u003c/b> and Robert Frank’s \u003cb>The Americans\u003c/b>.” Wall’s desire for a painterly aesthetic derived from his desire to snatch photography away from the snapshot, away from straight photography’s modernist mainstream, in order to forge a more relevant form.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wall rejected straight photography’s injunction that the photograph should be a straight, unadulterated document of reality. He preferred to treat each image as a director might treat a film still. Images could be staged. The film could be manipulated. And indeed, Wall took full advantage of his tools. Without digital manipulation, photographs like “A Sudden Gust of Wind (After Hokusai)” (1995) would not have been possible. These staged scenes always carry a certain tension between realism and idealism, as if Wall were uncomfortable with the idea of carrying painting’s potential for idealization and subjectivity over into photography’s realm.\u003c/p>\n\u003cp>Yet real as Jeff Wall’s details might appear, they, too, are dramatized. Part of Wall’s mise-en-scene, they form the foundation of the photograph’s psychological drama. And here we return to the Old Masters’ carefully groomed canvases. Wall’s photographs move away from treating the photographic image as a series of fragments, pulled from the world, to treating the photographic image as an integrated whole, a collection of carefully orchestrated, psychologically motivated parts. Under Wall’s hand, the photograph takes on some of painting’s emotional charge, concerned less with documenting reality than with psychology, narrative, and emotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jeff Wall\u003c/b> is at SFMOMA through January 27,2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My dictionary’s first entry for the term “hustler” is an enterprising person determined to succeed. White Walls Gallery’s current show, \u003cb>All-Star Hustlaz\u003c/b>, features a smattering of artists who bust their collective ass but have not yet received the recognition they deserve. It’s a sampling of work by genuine hustlers on the treacherous road to artistic success.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=15426\">Adam5100\u003c/a> was one of the artists who drew me to the show. I’d only been inside the gallery a few minutes when I overheard a conversation about his impressive painting technique involving fourteen or fifteen layers of hand-cut stencils. A gallery staff member said “I don’t know why he hasn’t blown up yet,” and I felt that the same sentiment could also be applied to some of the other artists.\u003c/p>\n\u003cp>I recently read a great interview with AJ Fosik in \u003ca href=\"http://www.juxtapoz.com\" target=\"offsite\" rel=\"noopener\">Juxtapoz\u003c/a> and was happy to see some of his art in person. With a past history of graffiti, guerilla public art, and illustration, Fosik creates mixed media works. Many are sculptures of bears complexly formed from colorful wood scraps. Fosik’s work seems to have an acquaintance with history; his images feel simultaneously familiar and foreign. Four of Fosik’s works are on display. The two that stuck in my mind were oddly similar. One was a three-dimensional bust of a pink and green bear, the other a painting on wood panel of a green bear with a mass of pink intestines spilling from his split gut. Though the colors and animal subject were shared, it might be hard to tell that the two pieces were created by the same artist. In the Juxtapoz interview, Fosik mentioned the importance of trying to “do something new every time.” To me, his constantly evolving style and prolificacy were apparent, even in these few samples of his work.\u003c/p>\n\u003cp>It’s my last post of 2007, which means it’s time for a list. Here are my top five (or six) favorite pieces from the show:\u003cbr> Adam5100’s \u003cb>Quinche\u003c/b>, a stenciled painting of an electrical power station.\u003cbr> AJ Fosik’s \u003cb>Bifurcated Bear\u003c/b>\u003cbr> Diet’s \u003cb>Toy Machine\u003c/b>, a friendly pink bubblegum machine filled with tiny golden baseball bats on chains.\u003cbr> Mitsy’s \u003cb>Dos de Tres Caidas\u003c/b>, a precious yet biting mixed media wall piece shaped like a tiny boxing ring. It was decorated with a Pacifico beer label, a furry Sasquatch, and glitter. I freaking love glitter!\u003cbr> Damon Soule’s \u003cb>Cephalopod Stockpiling Solids\u003c/b>, a painting of a transparent jellyfish filled with geometric forms.\u003cbr> Maxwell Loren Holyoke-Hirsch’s \u003cb>Universal Construct\u003c/b>, part of a collection of resin-coated folksy paintings on wood.\u003c/p>\n\u003cp>This is a time of transition, saying goodbye to a seasoned year, and hello to a new one — a time when you say to yourself, “I should (blank) more often.” Right now, make a promise to yourself to fill in that blank. Catching up with some talented artists who’ve flown under your radar this year is a good way to do so. You should go to art shows more often. Start with this one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All-Star Hustlaz runs through January 6, 2008 at White Walls Gallery in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My dictionary’s first entry for the term “hustler” is an enterprising person determined to succeed. White Walls Gallery’s current show, \u003cb>All-Star Hustlaz\u003c/b>, features a smattering of artists who bust their collective ass but have not yet received the recognition they deserve. It’s a sampling of work by genuine hustlers on the treacherous road to artistic success.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=15426\">Adam5100\u003c/a> was one of the artists who drew me to the show. I’d only been inside the gallery a few minutes when I overheard a conversation about his impressive painting technique involving fourteen or fifteen layers of hand-cut stencils. A gallery staff member said “I don’t know why he hasn’t blown up yet,” and I felt that the same sentiment could also be applied to some of the other artists.\u003c/p>\n\u003cp>I recently read a great interview with AJ Fosik in \u003ca href=\"http://www.juxtapoz.com\" target=\"offsite\" rel=\"noopener\">Juxtapoz\u003c/a> and was happy to see some of his art in person. With a past history of graffiti, guerilla public art, and illustration, Fosik creates mixed media works. Many are sculptures of bears complexly formed from colorful wood scraps. Fosik’s work seems to have an acquaintance with history; his images feel simultaneously familiar and foreign. Four of Fosik’s works are on display. The two that stuck in my mind were oddly similar. One was a three-dimensional bust of a pink and green bear, the other a painting on wood panel of a green bear with a mass of pink intestines spilling from his split gut. Though the colors and animal subject were shared, it might be hard to tell that the two pieces were created by the same artist. In the Juxtapoz interview, Fosik mentioned the importance of trying to “do something new every time.” To me, his constantly evolving style and prolificacy were apparent, even in these few samples of his work.\u003c/p>\n\u003cp>It’s my last post of 2007, which means it’s time for a list. Here are my top five (or six) favorite pieces from the show:\u003cbr> Adam5100’s \u003cb>Quinche\u003c/b>, a stenciled painting of an electrical power station.\u003cbr> AJ Fosik’s \u003cb>Bifurcated Bear\u003c/b>\u003cbr> Diet’s \u003cb>Toy Machine\u003c/b>, a friendly pink bubblegum machine filled with tiny golden baseball bats on chains.\u003cbr> Mitsy’s \u003cb>Dos de Tres Caidas\u003c/b>, a precious yet biting mixed media wall piece shaped like a tiny boxing ring. It was decorated with a Pacifico beer label, a furry Sasquatch, and glitter. I freaking love glitter!\u003cbr> Damon Soule’s \u003cb>Cephalopod Stockpiling Solids\u003c/b>, a painting of a transparent jellyfish filled with geometric forms.\u003cbr> Maxwell Loren Holyoke-Hirsch’s \u003cb>Universal Construct\u003c/b>, part of a collection of resin-coated folksy paintings on wood.\u003c/p>\n\u003cp>This is a time of transition, saying goodbye to a seasoned year, and hello to a new one — a time when you say to yourself, “I should (blank) more often.” Right now, make a promise to yourself to fill in that blank. Catching up with some talented artists who’ve flown under your radar this year is a good way to do so. You should go to art shows more often. Start with this one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Despite what critics may tell you, it’s not necessary to understand a work of art in order to like it. Especially when it comes to abstract painting. This is because Abstraction, which artist Raymond Saunders excels at, is fundamentally rooted in human language. As we know language can be verbal, non-verbal, gestural, purely visual or any combination of what we can detect with our senses.\u003c/p>\n\u003cp>It is also true that good art might not make sense right away. Similarly good art may even grow in profundity or change what it means as it is being contemplated. Good art is a trickster, reemerging in your life like a love song triggered by feelings you might not even know you had.\u003c/p>\n\u003cp>At the Stephen Wirtz Gallery, I observed a solitary young woman standing pensively before one of Raymond Saunders’s abstract and quite enormous, mostly black paintings. As I walked around the place she remained there staring at it trying to decipher the little chalk marks and permanently glued-down collage elements. While I was going around the room, she simply stood in place, becoming a collage element herself.\u003c/p>\n\u003cp>It caused me to consider how the paintings in this show are different from those made by other abstract painters and then I realized that in some respects Raymond Saunders is a poet. The woman standing at one of his works lingered as if she were reading a poem over and over to take in all of its meaning.\u003c/p>\n\u003cp>Saunders’s cryptic, scrawled writing, his references to other notable African Americans, the vast, open blank areas on his surfaces, the emptiness they convey, his collages — all relate to literature or language. Sometimes they refer to painting, sometimes not. But whatever it is they refer to, it is clear that his many motifs, like half-drawn chalk figures, glued-down bits of paper, attached objects, etc, are not randomly placed. Each bit can be traced back to some kind of source — a memory, a moment of experience, a place, a person. These paintings are as much an autobiography as they are anything else.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many works in this show are set on the floor, not hung on the wall, so they can be read as both paintings and sculptures simultaneously. This is as much a poetic gesture as it is a conceptual one, a silent statement of intent that is as fun to try figuring out as the obscured references in the paintings themselves. It might take a while to decode Raymond Saunders’s work, but you’ll be glad you took the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Raymond Saunders’s \u003cb>Pittsburgh\u003c/b> is at the Stephen Wirtz Gallery through December 22, 2007.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"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": {
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