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"content": "\u003cp>Having worked in the “community arts” for nearly a decade, I’m familiar with the frustration of “political” and “ethnic” artists. The moneyed, mainstream international arts scene places aesthetics and formal issues far above content. Even if this weren’t so, any political or identity content in art makes the work — and the artist — automatically suspect.\u003c/p>\n\u003cp>Those of artist Christine Wong Yap’s Asian American contemporaries who are making a splash in more mainstream venues tend to come out of conceptualism. Wong Yap’s reputation in the community, however, was originally made in the \u003ca target=\"offsite\" href=\"http://christinewongyap.com/work/2004andprior/community.html\" rel=\"noopener\">traditional forms of “activist” art\u003c/a>: socialist-realist-influenced graphics, screenprinting, muralism, flyers, t-shirts, and buttons. In fact, my own history with the artist comes from her work creating graphics for, and contributing paintings to, Asian American community exhibitions with a distinctly racial-power flavor.\u003c/p>\n\u003cp>For such an artist to make a turn into pure conceptualism can be jarring. Wong Yap, who recently graduated from an MFA program at CCA, and has been experimenting with conceptualism for years, still gets requests to produce murals from bewildered community arts administrators. Under a particular gun to explain herself, she is taking advantage of the project \u003cb>Activist Imagination\u003c/b>, currently exhibiting at Kearny Street Workshop, to show off the state of her art.\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b>, an examination of “activist art” in a context of artistic pluralism, is a collaboration between Wong Yap, longtime community activist and photographer \u003ca href=\"http://www.bobhsiangphoto.com/\" target=\"offsite\" rel=\"noopener\">Bob Hsiang\u003c/a>, and conceptual “activist artist” \u003ca href=\"http://www.well.com/user/indigo/donna/art/\" target=\"offsite\" rel=\"noopener\">Donna Keiko Ozawa\u003c/a>. The show was commissioned by the Creative Work Fund, and involves both a \u003ca target=\"offsite\" href=\"http://kearnystreet.wordpress.com/category/activist-imagination/\" rel=\"noopener\">blog\u003c/a> and an ongoing series of public panels on topics related to Asian American activism and arts practice. As part of the project, the artists were given access to Kearny Street Workshop’s archives, including over thirty-five years’ worth of screenprinted posters.\u003c/p>\n\u003cp>The process by which the artists arrived at their collaboration is still somewhat opaque to me, but the result is confusing. If there is dialogue here, I can’t hear it. For Hsiang’s straightforward piece using art to document activism, the artist has produced a new series of color photo portraits of local community activists, and installed them in an irregular grid, each next to a single artifact meaningful to the activist portrayed. Ozawa’s work comprises three thematically unrelated sculptures, each involving sound: a miniature house on a crank containing a sheep-sound can, a buddha-sculpture containing a radio tuned to the weather channel, and a doorway wired to a sound installation that was not yet up and running by the opening reception.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of Wong Yap’s four pieces, two seem unrelated to the exhibition’s subject matter. “The Best Person I Can Be” is a darkened room featuring a two-way mirror, inviting viewers to examine their own and their neighbors’ vanity and desire for self-improvement. Her “Untitled” site-specific window intervention is a simple series of dark filters over the gallery’s outside windows, with eye-hole cutouts covered in gels of a variety of colors. While it’s fun looking through the mirror, and testing out the Monet-like effects the various color filters have on Capp Street below, I’m unable to tease out a strong connection to the activist theme of the show. The lack of context within the scope of the exhibition weakens the theme of transparency and perspective Wong Yap has running through all four pieces.\u003c/p>\n\u003cp>More relevant to the show is the display of digital reproductions of historical Kearny Street Workshop screenprinted posters installed on the landing outside the gallery. Wong Yap’s only commentary here is a pink gel over the lights, which casts a semi-ironic, rose-colored glow on the posters.\u003c/p>\n\u003cp>“Seeing Red” is Wong Yap’s strongest and most outspoken piece here. She has screenprinted cutout lines for 3-D-style glasses onto a series of paper strips, and covered the eyeholes with lenses made of rubylith, a transparent red material used in screenprinting. Each of the strips containing the glasses is series-numbered, but attendees aren’t necessarily meant to notice, and she offers a pair of scissors to enable them to cut off the part of the piece that would cement its value as an art object. The rubylith material, not intended for use as a lens, fogs and obscures vision, offering instead a blurry “red” view of the world — the distortion of perspective created by constant anger. \u003c/p>\n\u003cp>At the opening, the viewers’ eagerness to cut out and wear the glasses began to appear like an indictment of thoughtless activists, so eager to put on the distorting lenses of political anger that they would destroy an art object; so anxious for feel-good functionality that they would ruin aesthetics. The screenprinting, and its material, mockingly invokes one of activist art’s most fetishized media. Taking the various subtle elements of the piece together, “Seeing Red” produces an impression of surprising hostility to the attitudes and practices of more traditional activist artists, and indeed to Wong Yap’s own earlier work.\u003c/p>\n\u003cp>I can, at times, be similarly weary of the relentless celebration community art organizations engage in when they examine activist art. And I am acutely aware that the tension between polemical and avant garde aesthetics does not push virtue or social value entirely over to the left side. But I’m a bit stumped by Wong Yap’s hostility, even while I find it by far the most interesting result of this project. She has outlined her position on the project blog in a post entitled “\u003ca href=\"http://kearnystreet.wordpress.com/2007/12/30/why-i-am-not-making-activist-art-for-activist-imagination/\" target=\"offsite\" rel=\"noopener\">Why I Am Not Making Activist Art for Activist Imagination\u003c/a>,” but I remain stumped.\u003c/p>\n\u003cp>Ultimately, Wong Yap’s work in \u003cb>Activist Imagination\u003c/b> is not activist art but a critique of activist art. As such, she is the artist in this exhibition who engages most strongly with the topic at hand, while openly repudiating it. If nothing else, \u003cb>Activist Imagination\u003c/b> is instructive as a document of an artist in a moment of transition, and at war with her previous sensibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b> runs through May 24, 2008 at Kearny Street Workshop in San Francisco . \u003cb>Activist Imagination\u003c/b> public discussions will take place March 27 and April 24, 2008 at 7pm. For photographs of the work from the \u003cb>Activist Imagination\u003c/b> opening, visit \u003ca target=\"offsite\" href=\"http://www.mochamonkey.com/week/080229_ksw/index.html\" rel=\"noopener\">mochamonkey.com</a. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Having worked in the “community arts” for nearly a decade, I’m familiar with the frustration of “political” and “ethnic” artists. The moneyed, mainstream international arts scene places aesthetics and formal issues far above content. Even if this weren’t so, any political or identity content in art makes the work — and the artist — automatically suspect.\u003c/p>\n\u003cp>Those of artist Christine Wong Yap’s Asian American contemporaries who are making a splash in more mainstream venues tend to come out of conceptualism. Wong Yap’s reputation in the community, however, was originally made in the \u003ca target=\"offsite\" href=\"http://christinewongyap.com/work/2004andprior/community.html\" rel=\"noopener\">traditional forms of “activist” art\u003c/a>: socialist-realist-influenced graphics, screenprinting, muralism, flyers, t-shirts, and buttons. In fact, my own history with the artist comes from her work creating graphics for, and contributing paintings to, Asian American community exhibitions with a distinctly racial-power flavor.\u003c/p>\n\u003cp>For such an artist to make a turn into pure conceptualism can be jarring. Wong Yap, who recently graduated from an MFA program at CCA, and has been experimenting with conceptualism for years, still gets requests to produce murals from bewildered community arts administrators. Under a particular gun to explain herself, she is taking advantage of the project \u003cb>Activist Imagination\u003c/b>, currently exhibiting at Kearny Street Workshop, to show off the state of her art.\u003c/p>\n\u003cp>\u003cb>Activist Imagination\u003c/b>, an examination of “activist art” in a context of artistic pluralism, is a collaboration between Wong Yap, longtime community activist and photographer \u003ca href=\"http://www.bobhsiangphoto.com/\" target=\"offsite\" rel=\"noopener\">Bob Hsiang\u003c/a>, and conceptual “activist artist” \u003ca href=\"http://www.well.com/user/indigo/donna/art/\" target=\"offsite\" rel=\"noopener\">Donna Keiko Ozawa\u003c/a>. The show was commissioned by the Creative Work Fund, and involves both a \u003ca target=\"offsite\" href=\"http://kearnystreet.wordpress.com/category/activist-imagination/\" rel=\"noopener\">blog\u003c/a> and an ongoing series of public panels on topics related to Asian American activism and arts practice. As part of the project, the artists were given access to Kearny Street Workshop’s archives, including over thirty-five years’ worth of screenprinted posters.\u003c/p>\n\u003cp>The process by which the artists arrived at their collaboration is still somewhat opaque to me, but the result is confusing. If there is dialogue here, I can’t hear it. For Hsiang’s straightforward piece using art to document activism, the artist has produced a new series of color photo portraits of local community activists, and installed them in an irregular grid, each next to a single artifact meaningful to the activist portrayed. Ozawa’s work comprises three thematically unrelated sculptures, each involving sound: a miniature house on a crank containing a sheep-sound can, a buddha-sculpture containing a radio tuned to the weather channel, and a doorway wired to a sound installation that was not yet up and running by the opening reception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of Wong Yap’s four pieces, two seem unrelated to the exhibition’s subject matter. “The Best Person I Can Be” is a darkened room featuring a two-way mirror, inviting viewers to examine their own and their neighbors’ vanity and desire for self-improvement. Her “Untitled” site-specific window intervention is a simple series of dark filters over the gallery’s outside windows, with eye-hole cutouts covered in gels of a variety of colors. While it’s fun looking through the mirror, and testing out the Monet-like effects the various color filters have on Capp Street below, I’m unable to tease out a strong connection to the activist theme of the show. The lack of context within the scope of the exhibition weakens the theme of transparency and perspective Wong Yap has running through all four pieces.\u003c/p>\n\u003cp>More relevant to the show is the display of digital reproductions of historical Kearny Street Workshop screenprinted posters installed on the landing outside the gallery. Wong Yap’s only commentary here is a pink gel over the lights, which casts a semi-ironic, rose-colored glow on the posters.\u003c/p>\n\u003cp>“Seeing Red” is Wong Yap’s strongest and most outspoken piece here. She has screenprinted cutout lines for 3-D-style glasses onto a series of paper strips, and covered the eyeholes with lenses made of rubylith, a transparent red material used in screenprinting. Each of the strips containing the glasses is series-numbered, but attendees aren’t necessarily meant to notice, and she offers a pair of scissors to enable them to cut off the part of the piece that would cement its value as an art object. The rubylith material, not intended for use as a lens, fogs and obscures vision, offering instead a blurry “red” view of the world — the distortion of perspective created by constant anger. \u003c/p>\n\u003cp>At the opening, the viewers’ eagerness to cut out and wear the glasses began to appear like an indictment of thoughtless activists, so eager to put on the distorting lenses of political anger that they would destroy an art object; so anxious for feel-good functionality that they would ruin aesthetics. The screenprinting, and its material, mockingly invokes one of activist art’s most fetishized media. Taking the various subtle elements of the piece together, “Seeing Red” produces an impression of surprising hostility to the attitudes and practices of more traditional activist artists, and indeed to Wong Yap’s own earlier work.\u003c/p>\n\u003cp>I can, at times, be similarly weary of the relentless celebration community art organizations engage in when they examine activist art. And I am acutely aware that the tension between polemical and avant garde aesthetics does not push virtue or social value entirely over to the left side. But I’m a bit stumped by Wong Yap’s hostility, even while I find it by far the most interesting result of this project. She has outlined her position on the project blog in a post entitled “\u003ca href=\"http://kearnystreet.wordpress.com/2007/12/30/why-i-am-not-making-activist-art-for-activist-imagination/\" target=\"offsite\" rel=\"noopener\">Why I Am Not Making Activist Art for Activist Imagination\u003c/a>,” but I remain stumped.\u003c/p>\n\u003cp>Ultimately, Wong Yap’s work in \u003cb>Activist Imagination\u003c/b> is not activist art but a critique of activist art. As such, she is the artist in this exhibition who engages most strongly with the topic at hand, while openly repudiating it. If nothing else, \u003cb>Activist Imagination\u003c/b> is instructive as a document of an artist in a moment of transition, and at war with her previous sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Enrique Chagoya: Borderlandia",
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"content": "\u003cp>I have never been to Mexico City, but I grew up in Taipei and believe that all colonial cities share a certain family resemblance. They have the same architecture, the same bones — broad flat allées to welcome triumphant conquerors, squares and plazas modeled on European antecedents, baroque administrative buildings with formal gardens, botanical gardens and zoological parks — and the same hodgepodge of languages, borrowed and native.\u003c/p>\n\u003cp>Enrique Chagoya, the star of the Berkeley Art Museum’s \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/chagoya\" target=\"offsite\" rel=\"noopener\"> Borderlandia\u003c/a>, was born in Mexico City, an environment that, as the show’s curator writes, is “filled with the ‘parallel experiences’ of disconnected cultures.”\u003c/p>\n\u003cp>Chagoya’s subject matter — kitschy images of Superman mingling with Catholic, Aztec, and Mayan imagery — belongs to the realm of feverish nightmares, and is most powerful on an intimate scale, as quick visual pulses reminiscent of late night channel surfing. The hapless viewer might uncover a disturbing mix of tele-evangelism, action movies, infomercials, and forgotten old movies starring long-dead stars. So, too, in Chagoya’s codices, we might encounter a voluptuous maiden and a Mayan god, locked in some strange and inexplicable visual embrace.\u003c/p>\n\u003cp>On \u003cb>Borderlandia\u003c/b>‘s opening night, the Berkeley Art Museum was filled with Berkeley’s old guard. Tweedy professors mingled alongside well-heeled museum donors, and art dealers circulated through the galleries. They took in Chagoya’s critiques of capitalist ideology and imperialism, while nibbling on paté and foie gras. Above the crowd, I could see a single Chagoya charcoal of a little girl cowering beneath a massive gloved hand.\u003c/p>\n\u003cp>I like Chagoya best when he works on a small scale. A fine draftsman, he can draw with a delicate and sensitive line, and his codices (book-size accordions, based on Aztec illustrated books) showcase his skill with color and line. Chagoya’s color palette is at times vivid, almost lurid, and at times so quiet as to be grisaille. These codices reward patience and sustained attention.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The larger images move too quickly, lacking the layered richness of the codices. We can write volumes of theory around Chagoya’s work — taut hybridity, globalization, and all kinds of other hip phrases spring to mind — but the large pieces are emotionally and aesthetically unsatisfying. The codex format allows Chagoya to write in paragraphs, creating inventive relationships between various iconic images. The large paintings focus on one or two symbols (Mickey Mouse, Ronald Reagan, skulls, cowboy hats), and feel more like catchphrases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those of us who grew up straddling cultures, Chagoya’s \u003cb>Adventures of the Enlightened Cannibal\u003c/b> (2002) or his \u003cb>Codex Cosmovisionarius\u003c/b> (2006) simply formalize our strange visual milieu. For us, there can be no pure “core,” no culture untouched by another. As a child, I leapt, confused, from Odysseus to the Monkey King to Superman to the Terminator, caught in a mishmash of names and cultures. I imagine that Chagoya must have had similar experiences. As children of the borderlands, do we ever know who we are, or what language to speak? Chagoya describes this state, not as tragedy, but as farce.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have never been to Mexico City, but I grew up in Taipei and believe that all colonial cities share a certain family resemblance. They have the same architecture, the same bones — broad flat allées to welcome triumphant conquerors, squares and plazas modeled on European antecedents, baroque administrative buildings with formal gardens, botanical gardens and zoological parks — and the same hodgepodge of languages, borrowed and native.\u003c/p>\n\u003cp>Enrique Chagoya, the star of the Berkeley Art Museum’s \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/chagoya\" target=\"offsite\" rel=\"noopener\"> Borderlandia\u003c/a>, was born in Mexico City, an environment that, as the show’s curator writes, is “filled with the ‘parallel experiences’ of disconnected cultures.”\u003c/p>\n\u003cp>Chagoya’s subject matter — kitschy images of Superman mingling with Catholic, Aztec, and Mayan imagery — belongs to the realm of feverish nightmares, and is most powerful on an intimate scale, as quick visual pulses reminiscent of late night channel surfing. The hapless viewer might uncover a disturbing mix of tele-evangelism, action movies, infomercials, and forgotten old movies starring long-dead stars. So, too, in Chagoya’s codices, we might encounter a voluptuous maiden and a Mayan god, locked in some strange and inexplicable visual embrace.\u003c/p>\n\u003cp>On \u003cb>Borderlandia\u003c/b>‘s opening night, the Berkeley Art Museum was filled with Berkeley’s old guard. Tweedy professors mingled alongside well-heeled museum donors, and art dealers circulated through the galleries. They took in Chagoya’s critiques of capitalist ideology and imperialism, while nibbling on paté and foie gras. Above the crowd, I could see a single Chagoya charcoal of a little girl cowering beneath a massive gloved hand.\u003c/p>\n\u003cp>I like Chagoya best when he works on a small scale. A fine draftsman, he can draw with a delicate and sensitive line, and his codices (book-size accordions, based on Aztec illustrated books) showcase his skill with color and line. Chagoya’s color palette is at times vivid, almost lurid, and at times so quiet as to be grisaille. These codices reward patience and sustained attention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The larger images move too quickly, lacking the layered richness of the codices. We can write volumes of theory around Chagoya’s work — taut hybridity, globalization, and all kinds of other hip phrases spring to mind — but the large pieces are emotionally and aesthetically unsatisfying. The codex format allows Chagoya to write in paragraphs, creating inventive relationships between various iconic images. The large paintings focus on one or two symbols (Mickey Mouse, Ronald Reagan, skulls, cowboy hats), and feel more like catchphrases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those of us who grew up straddling cultures, Chagoya’s \u003cb>Adventures of the Enlightened Cannibal\u003c/b> (2002) or his \u003cb>Codex Cosmovisionarius\u003c/b> (2006) simply formalize our strange visual milieu. For us, there can be no pure “core,” no culture untouched by another. As a child, I leapt, confused, from Odysseus to the Monkey King to Superman to the Terminator, caught in a mishmash of names and cultures. I imagine that Chagoya must have had similar experiences. As children of the borderlands, do we ever know who we are, or what language to speak? Chagoya describes this state, not as tragedy, but as farce.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most Chinese translations of American city names are phonetic. The Chinese word for New York sounds very similar to the American way of saying “New York.” San Francisco, however, is unique. In Mandarin, it is called Jiu Jin Shan, or Old Gold Mountain, in reference to the gold rush.\u003c/p>\n\u003cp>This spring, check out artist Zhan Wang’s interpretation of Old Gold Mountain at the Asian Art Museum. The artist packed up every imaginable stainless steel kitchen object made in China — enough to cover the floor of a medium-sized gallery — and spent four days recreating a shiny panorama of San Francisco. It’s a stunning display. Market Street is two rows of stainless steel chopsticks. The Transamerica Building is three cheese graters topped off with a pair of closed tongs. Tiny spoons and other utensils are carefully lined up around the edge of the stainless city, little docks and ports jutting out from the stacks of precariously piled kitchenware landmarks. Set on a mirrored platform, the installation creates an ethereal light reflection on the wall, like a luminous fog looming in the distance.\u003c/p>\n\u003cp>When the installation comes down in May, Wang will crate and store the pots and pans until they’re eventually used to build another city. \u003cb>On Gold Mountain\u003c/b> is part of an international series; he’s already done London. For the next installation, I’d like to suggest a pots and pans Indianapolis.\u003c/p>\n\u003cp>In addition to the remarkable rendition of The City, Wang is showing a collection of rocks in a corner of the gallery. The rocks were collected from the Sierras, shipped to Wang’s studio in Beijing and coated with sheets of stainless steel. Wang hammered, polished, and pounded the steel onto the rocks, creating a skin that could be peeled off in chunks and welded back together. The end result is a shiny cousin to the original rock. Fifty pairs of original and fake rocks are displayed, along with another replica of a 6,000-pound boulder glittering near the door to the gallery. This element of the show was inspired by Wang’s past replicas of \u003ca href=\"http://en.wikipedia.org/wiki/Chinese_scholar%27s_rocks\" target=\"offsite\" rel=\"noopener\">Chinese scholar’s rocks\u003c/a>\u003c/p>\n\u003cp>Wang’s view of San Francisco can be interpreted in many ways. While his display is glorious, it is unstable and made of cheap, utilitarian objects manufactured by unknown workers in China. According to the exhibit’s curator, the medium of kitchenware is also a nod to the fact that many Chinese immigrants turned to the service industry after the gold rush. However you interpret it, Wang’s work is a gilded, contemporary glimmer in the eye of the Asian Art Museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interested in seeing another artist’s interpretation of the landscape of San Francisco? Check out Liz Hickok’s jiggly Jell-o version on \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5983\">Spark\u003c/a>.\u003c/p>\n\u003cp>Zhan Wang’s \u003cb>On Gold Mountain\u003c/b> is on view at the Asian Art Museum in San Francisco through May 25th, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>THIS WEEK:\u003c/b> Our very own Kristin Farr is a guest on the \u003ca href=\"http://www.blog.art21.org/\" target=\"offsite\" rel=\"noopener\">Art 21 Blog\u003c/a>. Check it out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most Chinese translations of American city names are phonetic. The Chinese word for New York sounds very similar to the American way of saying “New York.” San Francisco, however, is unique. In Mandarin, it is called Jiu Jin Shan, or Old Gold Mountain, in reference to the gold rush.\u003c/p>\n\u003cp>This spring, check out artist Zhan Wang’s interpretation of Old Gold Mountain at the Asian Art Museum. The artist packed up every imaginable stainless steel kitchen object made in China — enough to cover the floor of a medium-sized gallery — and spent four days recreating a shiny panorama of San Francisco. It’s a stunning display. Market Street is two rows of stainless steel chopsticks. The Transamerica Building is three cheese graters topped off with a pair of closed tongs. Tiny spoons and other utensils are carefully lined up around the edge of the stainless city, little docks and ports jutting out from the stacks of precariously piled kitchenware landmarks. Set on a mirrored platform, the installation creates an ethereal light reflection on the wall, like a luminous fog looming in the distance.\u003c/p>\n\u003cp>When the installation comes down in May, Wang will crate and store the pots and pans until they’re eventually used to build another city. \u003cb>On Gold Mountain\u003c/b> is part of an international series; he’s already done London. For the next installation, I’d like to suggest a pots and pans Indianapolis.\u003c/p>\n\u003cp>In addition to the remarkable rendition of The City, Wang is showing a collection of rocks in a corner of the gallery. The rocks were collected from the Sierras, shipped to Wang’s studio in Beijing and coated with sheets of stainless steel. Wang hammered, polished, and pounded the steel onto the rocks, creating a skin that could be peeled off in chunks and welded back together. The end result is a shiny cousin to the original rock. Fifty pairs of original and fake rocks are displayed, along with another replica of a 6,000-pound boulder glittering near the door to the gallery. This element of the show was inspired by Wang’s past replicas of \u003ca href=\"http://en.wikipedia.org/wiki/Chinese_scholar%27s_rocks\" target=\"offsite\" rel=\"noopener\">Chinese scholar’s rocks\u003c/a>\u003c/p>\n\u003cp>Wang’s view of San Francisco can be interpreted in many ways. While his display is glorious, it is unstable and made of cheap, utilitarian objects manufactured by unknown workers in China. According to the exhibit’s curator, the medium of kitchenware is also a nod to the fact that many Chinese immigrants turned to the service industry after the gold rush. However you interpret it, Wang’s work is a gilded, contemporary glimmer in the eye of the Asian Art Museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interested in seeing another artist’s interpretation of the landscape of San Francisco? Check out Liz Hickok’s jiggly Jell-o version on \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5983\">Spark\u003c/a>.\u003c/p>\n\u003cp>Zhan Wang’s \u003cb>On Gold Mountain\u003c/b> is on view at the Asian Art Museum in San Francisco through May 25th, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>THIS WEEK:\u003c/b> Our very own Kristin Farr is a guest on the \u003ca href=\"http://www.blog.art21.org/\" target=\"offsite\" rel=\"noopener\">Art 21 Blog\u003c/a>. Check it out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Friday, February 22, 2008, the entrance to the Verdi Club in the Mission looked similar to a sold-out concert at the Fillmore. Hundreds of people showed up to catch a night of free art and music. The \u003cb>Monster Drawing Rally\u003c/b>, a live drawing fundraiser for the non-profit Southern Exposure, featured over 130 artists. During four one-hour shifts the artists, sitting side-by-side, drew cartoons, comics, animals, portraits, the abstract, the realistic, some even drew monsters, although that was not mandatory.\u003c/p>\n\u003cp>After each hour set, the drawings were put up onto the wall to be admired and hopefully purchased. Each piece, some more detailed than others, cost 60 bucks. All of the proceeds for the event went towards Southern Exposure’s Exhibitions and Artists in Education Programs. The event has expanded throughout the years to include more artists and raise more money.\u003c/p>\n\u003cp>Check out a \u003ca href=\"http://flickr.com/photos/kqedradio/sets/72157604008448088/\" target=\"offsite\" rel=\"noopener\">Flickr set\u003c/a> of the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"excerpt": "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. ",
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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",
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"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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"title": "Geir Jordahl: Searching for True North | KQED",
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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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"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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"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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"title": "Is it a Fiber Show?",
"headTitle": "Is it a Fiber Show? | KQED",
"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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"excerpt": "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: ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"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.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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