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"title": "Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann",
"headTitle": "Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann | KQED",
"content": "\u003cp>It’s fitting, I suppose, that \u003cb>Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann\u003c/b> should be tucked away in a dark upstairs gallery at the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. The show, which runs through March 8, 2008, is first and foremost an academic exercise, filled with lots of ah-hah moments for fans of one of the 20th century’s most inventive and influential artists, and just as many opportunities for shoulder shrugs by those who are encountering Westermann for the first time.\u003c/p>\n\u003cp>I’m probably not the first to suggest that H.C. Westermann was the Neal Cassady of the art world. Like Cassady, Westermann was a child of the 1920s, although his early influences were the fantasies churned out by the neighboring dream factories of Hollywood (he grew up in Los Angeles) rather than the derelicts that hung around with his alcoholic father on Denver’s skid row. Also like Cassady, Cliff, as Westermann was known to his friends, was a larger-than-life character, a six-pack-abs badass with a heart of gold, whose reputation for wartime heroics (he shot down kamikaze planes during World War II) and as an artist’s artist was enough to land him on the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.\u003c/p>\n\u003cp>Today, the impact on his peers is easy to see. After an on-and-off stint at the School of the Art Institute of Chicago between 1947 and 1954, his subsequent exhibitions at the Allan Frumkin Gallery created such a stir that more than a few art historians credit Westermann with being the father of that city’s Imagist School, which flowered in the late 1960s. Even artists up and down the West Coast, many of them a generation or more behind him, found Westermann’s easy use of non-traditional art materials, from plywood to found objects, to be perfectly in sync with their Assemblage and Funk explorations.\u003c/p>\n\u003cp>What we get at the Cantor, alas, is mostly work that predates Westermann’s glory days from the late 1950s until his death in 1981. Which is fine inasmuch as it’s always interesting to see where someone comes from, and the focus of this show is, after all, Westermann’s early work. If only Westermann’s mature work weren’t so arresting, I might not have left this show longing for more of the good stuff, art history be damned.\u003c/p>\n\u003cp>Happily, a glorious gem greets viewers upon entering the red- and gray-walled gallery. Titled \u003cb>Mad House\u003c/b>, this sculpture from 1958 consists of a plywood structure, resembling a one-room schoolhouse or maybe a small church, sitting atop a plain plywood base. One moves around the sculpture not quite knowing where to look first. On the metal front door, which is strategically placed between a wooden relief of a woman’s legs, are the words “Keep Out.” Stamped into the wood around the door are the words “Through this door pass the…” a phrase that is deliberately left unfinished. On another side of the house there’s a little window offering a view into the house — inside is a three-eyed devil. A lovely little ladder climbs the house. And on and on. These rich details aside, one could spend the better part of an hour just drinking in Westermann’s craftsmanship, which was never as polished as, say, a furniture maker’s, but was always clean, simple, and, in its own way, perfect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few other sculptures of note are on view, including my favorite piece in the show, \u003cb>Plains Indian\u003c/b> from 1957 and \u003cb>Dismasted Ship\u003c/b> from 1956. Another called \u003cb>Ensor’s Mother\u003c/b> (1956) is nothing more (or less) than a wooden box built to enclose and protect an actual James Ensor drawing. Robert Rauschenberg had erased a Willem de Kooning a few years earlier, but it’s doubtful that a down-to-earth iconoclast like Westermann, despite all his formal art training, would make a piece like \u003cb>Ensor’s Mother\u003c/b> merely as a response to the antics of a showier contemporary in New York.\u003c/p>\n\u003cp>Despite my preoccupation with the show’s sculptures, the heart of the show is really the works on paper and the paintings, many of which were created while Westermann was in school and look, not surprisingly, like the work of a student. \u003cb>The Reluctant Acrobat\u003c/b> from 1949 has a sort of early-Picasso vibe to it, while \u003cb>My Madonna (In the Style of the Early Russians Work)\u003c/b>, also from 1949, is unabashed about its influences. In 1953, Westermann seemed to go through a Saul Steinberg period, producing such lovely, if inconsequential, paintings as \u003cb>Man Animal\u003c/b> and \u003cb>Beautiful Isle of Somewhere\u003c/b>.\u003c/p>\n\u003cp>Things get much better, though, in 1959, when Westermann gives in to the cartoony, angled-feature figuration that would serve him so well in the 1960s and 1970s, with paintings like \u003cb>Destructive Machine from Under the Sea\u003c/b> and \u003cb>Battle of Little Big Horn\u003c/b>. Even if these glimpses of Westermann \u003cb>Becoming H.C. Westermann\u003c/b>, as David McCarthy puts it in one of the handsome catalog’s essays, are few, they are well worth a trip to the Cantor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann\u003c/b> is on view at the Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, through March 8, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s fitting, I suppose, that \u003cb>Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann\u003c/b> should be tucked away in a dark upstairs gallery at the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. The show, which runs through March 8, 2008, is first and foremost an academic exercise, filled with lots of ah-hah moments for fans of one of the 20th century’s most inventive and influential artists, and just as many opportunities for shoulder shrugs by those who are encountering Westermann for the first time.\u003c/p>\n\u003cp>I’m probably not the first to suggest that H.C. Westermann was the Neal Cassady of the art world. Like Cassady, Westermann was a child of the 1920s, although his early influences were the fantasies churned out by the neighboring dream factories of Hollywood (he grew up in Los Angeles) rather than the derelicts that hung around with his alcoholic father on Denver’s skid row. Also like Cassady, Cliff, as Westermann was known to his friends, was a larger-than-life character, a six-pack-abs badass with a heart of gold, whose reputation for wartime heroics (he shot down kamikaze planes during World War II) and as an artist’s artist was enough to land him on the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.\u003c/p>\n\u003cp>Today, the impact on his peers is easy to see. After an on-and-off stint at the School of the Art Institute of Chicago between 1947 and 1954, his subsequent exhibitions at the Allan Frumkin Gallery created such a stir that more than a few art historians credit Westermann with being the father of that city’s Imagist School, which flowered in the late 1960s. Even artists up and down the West Coast, many of them a generation or more behind him, found Westermann’s easy use of non-traditional art materials, from plywood to found objects, to be perfectly in sync with their Assemblage and Funk explorations.\u003c/p>\n\u003cp>What we get at the Cantor, alas, is mostly work that predates Westermann’s glory days from the late 1950s until his death in 1981. Which is fine inasmuch as it’s always interesting to see where someone comes from, and the focus of this show is, after all, Westermann’s early work. If only Westermann’s mature work weren’t so arresting, I might not have left this show longing for more of the good stuff, art history be damned.\u003c/p>\n\u003cp>Happily, a glorious gem greets viewers upon entering the red- and gray-walled gallery. Titled \u003cb>Mad House\u003c/b>, this sculpture from 1958 consists of a plywood structure, resembling a one-room schoolhouse or maybe a small church, sitting atop a plain plywood base. One moves around the sculpture not quite knowing where to look first. On the metal front door, which is strategically placed between a wooden relief of a woman’s legs, are the words “Keep Out.” Stamped into the wood around the door are the words “Through this door pass the…” a phrase that is deliberately left unfinished. On another side of the house there’s a little window offering a view into the house — inside is a three-eyed devil. A lovely little ladder climbs the house. And on and on. These rich details aside, one could spend the better part of an hour just drinking in Westermann’s craftsmanship, which was never as polished as, say, a furniture maker’s, but was always clean, simple, and, in its own way, perfect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few other sculptures of note are on view, including my favorite piece in the show, \u003cb>Plains Indian\u003c/b> from 1957 and \u003cb>Dismasted Ship\u003c/b> from 1956. Another called \u003cb>Ensor’s Mother\u003c/b> (1956) is nothing more (or less) than a wooden box built to enclose and protect an actual James Ensor drawing. Robert Rauschenberg had erased a Willem de Kooning a few years earlier, but it’s doubtful that a down-to-earth iconoclast like Westermann, despite all his formal art training, would make a piece like \u003cb>Ensor’s Mother\u003c/b> merely as a response to the antics of a showier contemporary in New York.\u003c/p>\n\u003cp>Despite my preoccupation with the show’s sculptures, the heart of the show is really the works on paper and the paintings, many of which were created while Westermann was in school and look, not surprisingly, like the work of a student. \u003cb>The Reluctant Acrobat\u003c/b> from 1949 has a sort of early-Picasso vibe to it, while \u003cb>My Madonna (In the Style of the Early Russians Work)\u003c/b>, also from 1949, is unabashed about its influences. In 1953, Westermann seemed to go through a Saul Steinberg period, producing such lovely, if inconsequential, paintings as \u003cb>Man Animal\u003c/b> and \u003cb>Beautiful Isle of Somewhere\u003c/b>.\u003c/p>\n\u003cp>Things get much better, though, in 1959, when Westermann gives in to the cartoony, angled-feature figuration that would serve him so well in the 1960s and 1970s, with paintings like \u003cb>Destructive Machine from Under the Sea\u003c/b> and \u003cb>Battle of Little Big Horn\u003c/b>. Even if these glimpses of Westermann \u003cb>Becoming H.C. Westermann\u003c/b>, as David McCarthy puts it in one of the handsome catalog’s essays, are few, they are well worth a trip to the Cantor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann\u003c/b> is on view at the Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, through March 8, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Hayes Valley Market is a gigantic, temporary gallery. It’ll soon be reduced to a pile of rubble but, for now, it’s an enormous art space that’s difficult to contend with. As an individual artist, you’d be overwhelmed by the space, unless you happen to have several elephant-sized sculptures or an installation the size of a football field in the works. This is why most of the shows in the Market have been group shows like this month’s \u003cb>Off the Point\u003c/b>, the first annual Holiday Show featuring artists with studios in the Hunter’s Point Shipyard.\u003c/p>\n\u003cp>The show’s featured works are those of poet, Lawrence Ferlinghetti, and mixed media artist, JoeSam. Ferlinghetti’s fiery \u003cb>Elegy for the Iraqi People\u003c/b> is on display, along with a photo print of the artist with a mannequin wearing nothing but shoes sitting on his lap. JoeSam has wall sculptures in two areas of the gallery made of things like wood, metal, handcuffs, a boxing glove, and a wheel that actually turns (don’t ask me how I figured out that last part).\u003c/p>\n\u003cp>There are countless artists represented in the show, and their work will seem familiar if you’ve visited the Shipyard during Open Studios weekend. It’s a Holiday show because of the gift-y items on display — jewelry, scarves, glass vases, paintings of puppies, and so on. If I had to include some of the items on my wish list, I’d probably choose Paul Gibson’s painting of a robot or Ivy Jacobsen’s tree-filled landscapes. Audrey Welch’s decorative tiles made of paper, spray paint, and resin would make a nice gift and so would Scott Velardo’s paintings on the covers of small books. For those hard-to-shop-for folks, check out Jane Wolverton’s vividly painted, woven six-pack rings — they look like a found-artist’s interpretation of a crazy party, and they’d be perfect with one of those funny Holiday cards that says, “Happy Birthday Jesus.”\u003c/p>\n\u003cp>If you’re shopping for someone who hasn’t been good this year, forgo the lump of coal and splurge on Maria Forman’s \u003cb>Puppy Present\u003c/b> a small but shocking painting of a dog doing his business. For the nautical types, pick up one of David Dion’s laminated poplar sculptures — some of them look like sinking ships. And lastly, if you’re having a difficult time choosing a gift for your Goth niece or nephew who scowls at everything, there’s a dark metal sculpture of a tarantula woman walking her pet monkey that’s sure to make any black-eyeliner-wearing, Morrissey-loving kid smile for once.\u003c/p>\n\u003cp>In the spirit of giving, support your local artists — skip the mall this year and head to the Market for all of your unique Holiday shopping needs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Off the Point\u003c/b> runs through December 29, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Hayes Valley Market is a gigantic, temporary gallery. It’ll soon be reduced to a pile of rubble but, for now, it’s an enormous art space that’s difficult to contend with. As an individual artist, you’d be overwhelmed by the space, unless you happen to have several elephant-sized sculptures or an installation the size of a football field in the works. This is why most of the shows in the Market have been group shows like this month’s \u003cb>Off the Point\u003c/b>, the first annual Holiday Show featuring artists with studios in the Hunter’s Point Shipyard.\u003c/p>\n\u003cp>The show’s featured works are those of poet, Lawrence Ferlinghetti, and mixed media artist, JoeSam. Ferlinghetti’s fiery \u003cb>Elegy for the Iraqi People\u003c/b> is on display, along with a photo print of the artist with a mannequin wearing nothing but shoes sitting on his lap. JoeSam has wall sculptures in two areas of the gallery made of things like wood, metal, handcuffs, a boxing glove, and a wheel that actually turns (don’t ask me how I figured out that last part).\u003c/p>\n\u003cp>There are countless artists represented in the show, and their work will seem familiar if you’ve visited the Shipyard during Open Studios weekend. It’s a Holiday show because of the gift-y items on display — jewelry, scarves, glass vases, paintings of puppies, and so on. If I had to include some of the items on my wish list, I’d probably choose Paul Gibson’s painting of a robot or Ivy Jacobsen’s tree-filled landscapes. Audrey Welch’s decorative tiles made of paper, spray paint, and resin would make a nice gift and so would Scott Velardo’s paintings on the covers of small books. For those hard-to-shop-for folks, check out Jane Wolverton’s vividly painted, woven six-pack rings — they look like a found-artist’s interpretation of a crazy party, and they’d be perfect with one of those funny Holiday cards that says, “Happy Birthday Jesus.”\u003c/p>\n\u003cp>If you’re shopping for someone who hasn’t been good this year, forgo the lump of coal and splurge on Maria Forman’s \u003cb>Puppy Present\u003c/b> a small but shocking painting of a dog doing his business. For the nautical types, pick up one of David Dion’s laminated poplar sculptures — some of them look like sinking ships. And lastly, if you’re having a difficult time choosing a gift for your Goth niece or nephew who scowls at everything, there’s a dark metal sculpture of a tarantula woman walking her pet monkey that’s sure to make any black-eyeliner-wearing, Morrissey-loving kid smile for once.\u003c/p>\n\u003cp>In the spirit of giving, support your local artists — skip the mall this year and head to the Market for all of your unique Holiday shopping needs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Not Fade Away: Preserving Clyfford Still",
"headTitle": "Not Fade Away: Preserving Clyfford Still | KQED",
"content": "\u003cp>It all began with Clyfford Still. At least for me it did. Back in 1991, freshly arrived in San Francisco, I visited SFMOMA. To say I was blown away by the roomful of Stills would be an understatement.\u003c/p>\n\u003cp>I had never experienced a Still in person until that moment. The feelings that washed over me included, but were not limited to, amazement, horror, disgust, delight, and ultimately, unfettered admiration. Growing up at the beginning of our post-modern era, I was well-versed in the joys of cool detachment. But I walked away that day with the realization that art was a huge and vicious battle, a never ending quest for some sort of redemption against the darkness of forever. The Stills spewed out the idea that a hellfire fight against nothingness could also be a celebration, and no matter what the cost, the fight was worth it. At that time, long before the alleged death of irony, it seemed like a radical notion.\u003c/p>\n\u003cp>Besides making demands of his viewers, Still, in his lifetime, made some very specific demands of institutions that acquired his pieces: that his work never be shown alongside that of anyone else. During his lifetime only 150 pieces escaped his iron grip. In his one-page will Still stated that whoever acquired his remaining estate (of 2,393 pieces) must house it all together — apart from the rest of the art world — in a museum solely dedicated to him. And that none of his works be sold. Ever. SFMOMA had the foresight to work with Still while he was living, promising him a gallery of his work on view at all times, rotated in from an original gift of \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=clyfford+still&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\">30 paintings\u003c/a>.\u003c/p>\n\u003cp>Yep, Clyfford Still comes off as a cantankerous, self-righteous ass. But I have a special place in my heart for cranks. Cranks are often believers, sometimes the only believers. Believers in themselves and believers in something better for everyone.\u003c/p>\n\u003cp>I’ve lost track of how many times I’ve visited SFMOMA’s Stills over the last decade and a half. Sometimes I stop by on the way to see a temporary exhibition. Other times I run in just to spend a few moments with them. Whatever the reason, I leave ready to get back in the fight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, it all began with Clyfford Still again.\u003c/p>\n\u003cp>But this time it was the realization that I was getting old. I had lived long enough around them to watch the Stills age. Over the years, the colors in the Stills have changed. The reds have gotten paler and in spots seem muddier. My friend and fellow painter \u003ca href=\"http://www.gallerypauleanglim.com/zurier_john.html\">John Zurier\u003c/a> noticed the changes as well. He went as far as saying the yellows were migrating.\u003c/p>\n\u003cp>Again, Still dredged up emotions for me, but this time mostly of horror. Art is supposed to be man’s lasting achievement, right? It outlives its creator, its initial collector, and continues on into the ages. Through this, it is able to connect the viewer to humanity in other moments. This always seemed to me to be one of art’s most important purposes. Now, the Stills seemed to be fading away before that could happen.\u003c/p>\n\u003cp>SFMOMA’s Paintings Conservator Paula De Cristofaro explained that “Clyfford Still’s two daughters have, indeed, noted shifts in their father’s paint over time. He created his own paint by grinding dry powder pigment in linseed oil, and the shifts that have been observed may be due to this technique. His paint might age differently from commercially manufactured, artist quality paint, due to the nature of its components.”\u003c/p>\n\u003cp>Okay. Well, it’s actually not okay. Today, museums use state-of-the-art technology to repair and replenish great works of art. Over the years I feel like I’ve seen a bazillion shows on PBS about this.\u003c/p>\n\u003cp>Paula De Cristofaro answered, “Change in an artwork that is inherent to an artist’s technique is not a condition we would consider ‘restoring.’ We accept it as part of the nature of the work.”\u003c/p>\n\u003cp>Maybe Still bequeathed the Museum a lousy batch. In his lifetime Still sold or gave away only about 150 works. Maybe he only mixed his own paints for a brief time.\u003c/p>\n\u003cp>In 2004, Patricia Still, Clyfford’s widow, announced a deal with Denver to build a museum for him, to showcase his nearly 2,400 works. The estate has been in storage for decades, and it was only in the spring of this year that scholars were able to glimpse it.\u003c/p>\n\u003cp>De Cristofaro relates. “My conservation colleagues who are working with the Clyfford Still estate and the new museum in Denver are researching the questions you pose, so in the future I think there will be a lot more information on Still’s technique and the issues of how his paintings age and change. Because this research is ongoing and results are not published and in the public domain, there is not much technical information that my colleagues can provide at this moment.”\u003c/p>\n\u003cp>Armed with this new and awful knowledge, it was easy to begin wondering how many of my favorite works at SFMOMA are fading and changing.\u003c/p>\n\u003cp>“The works in the collection you admire — like the \u003ca href=\"http://collections.sfmoma.org/OBJ55.htm\">Park\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4417.htm\">Diebenkorn\u003c/a>, and \u003ca href=\"http://collections.sfmoma.org/OBJ230.htm\">Mitchell\u003c/a> — are all stable and not problematic at this time with regard to shifts in color,” De Cristofaro reassures me.\u003c/p>\n\u003cp>“We exhibit the work in low light levels, and lower still for works that are potentially more sensitive, such as the Rothko. Light levels and the condition of the paintings are closely monitored. The works on paper and in fragile media (water color, magic marker, etc.) are the most fragile in our collection, so we tend to limit their exhibition time and monitor the light levels very closely. Many works are rotated out on a regular basis,” says De Cristofaro.\u003c/p>\n\u003cp>Did Still make his own bed? By contractually obliging the museum to show his paintings continuously he may have relegated them to a sort of forced second class status. Curators often look for connections among works in the collection; finding new relationships to offer the public is an essential part of their job. Still nixed this approach with his self-aggrandizing demands making it pretty easy to ignore the crank in the corner.\u003c/p>\n\u003cp>But curators and directors cycle through, and with the \u003ca href=\"http://www.sfmoma.org/info/mushist_timeline.asp\">recent changing of the administrative guard\u003c/a> at SFMOMA (Director Neal Benezra is known to be a big Still fan), mixed with a national renewed interest in Clyfford Still, has come a rehanging of his work.\u003c/p>\n\u003cp>“We were in storage a while back looking at all of the Still paintings and began thinking about a new rotation,” says Janet Bishop, curator of Painting and Sculpture. “It occurred to us that given the depth of SFMOMA’s Still holdings (we have 30), it would be nice to do a complete re-hang. I was particularly interested in showing some of the early paintings to provide a more expansive sense of Still’s accomplishments, and because they’re just such good little paintings. We haven’t yet planned the next re-hang, but will try to do it again before too long.”\u003c/p>\n\u003cp>I have faith in Still. With brute will, he fought an art establishment to get his way. He did. And I know that, even as they change, his paintings will, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In his most recent novel, \u003ca href=\"http://www.amazon.com/Gum-Thief-Novel-Douglas-Coupland/dp/1596911069/ref=pd_bbs_2?ie=UTF8&s=books&qid=1196749227&sr=8-2\">The Gum Thief\u003c/a>, Douglas Coupland explains that we all have an imaginary age we continually perceive ourselves to be. In my head. I’m 25. And SFMOMA’s Clyfford Stills are still rich in red.\u003c/p>\n\n",
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"excerpt": "It all began with Clyfford Still. At least for me it did. Back in 1991, freshly arrived in San Francisco, I visited SFMOMA. To say I was blown away by the roomful of Stills would be an understatement.\u003cp>I had never experienced a Still in person until that moment. The feelings that washed over me included, but were not limited to, amazement, horror, disgust, delight, and ultimately, unfettered admiration. Growing up at the beginning of our post-modern era, I was well-versed in the joys of cool detachment. But I walked away that day with the realization that art was a huge and vicious battle, a never ending quest for some sort of redemption against the darkness of forever. The Stills spewed out the idea that a hellfire fight against nothingness could also be a celebration, and no matter what the cost, the fight was worth it. At that time, long before the alleged death of irony, it seemed like a radical notion.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all began with Clyfford Still. At least for me it did. Back in 1991, freshly arrived in San Francisco, I visited SFMOMA. To say I was blown away by the roomful of Stills would be an understatement.\u003c/p>\n\u003cp>I had never experienced a Still in person until that moment. The feelings that washed over me included, but were not limited to, amazement, horror, disgust, delight, and ultimately, unfettered admiration. Growing up at the beginning of our post-modern era, I was well-versed in the joys of cool detachment. But I walked away that day with the realization that art was a huge and vicious battle, a never ending quest for some sort of redemption against the darkness of forever. The Stills spewed out the idea that a hellfire fight against nothingness could also be a celebration, and no matter what the cost, the fight was worth it. At that time, long before the alleged death of irony, it seemed like a radical notion.\u003c/p>\n\u003cp>Besides making demands of his viewers, Still, in his lifetime, made some very specific demands of institutions that acquired his pieces: that his work never be shown alongside that of anyone else. During his lifetime only 150 pieces escaped his iron grip. In his one-page will Still stated that whoever acquired his remaining estate (of 2,393 pieces) must house it all together — apart from the rest of the art world — in a museum solely dedicated to him. And that none of his works be sold. Ever. SFMOMA had the foresight to work with Still while he was living, promising him a gallery of his work on view at all times, rotated in from an original gift of \u003ca href=\"http://www.sfmoma.org/collections/search.asp?sp_p=all&sp_f=UTF-8&sp_a=sp10026505&sp_t=cao&sp_q=clyfford+still&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\">30 paintings\u003c/a>.\u003c/p>\n\u003cp>Yep, Clyfford Still comes off as a cantankerous, self-righteous ass. But I have a special place in my heart for cranks. Cranks are often believers, sometimes the only believers. Believers in themselves and believers in something better for everyone.\u003c/p>\n\u003cp>I’ve lost track of how many times I’ve visited SFMOMA’s Stills over the last decade and a half. Sometimes I stop by on the way to see a temporary exhibition. Other times I run in just to spend a few moments with them. Whatever the reason, I leave ready to get back in the fight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, it all began with Clyfford Still again.\u003c/p>\n\u003cp>But this time it was the realization that I was getting old. I had lived long enough around them to watch the Stills age. Over the years, the colors in the Stills have changed. The reds have gotten paler and in spots seem muddier. My friend and fellow painter \u003ca href=\"http://www.gallerypauleanglim.com/zurier_john.html\">John Zurier\u003c/a> noticed the changes as well. He went as far as saying the yellows were migrating.\u003c/p>\n\u003cp>Again, Still dredged up emotions for me, but this time mostly of horror. Art is supposed to be man’s lasting achievement, right? It outlives its creator, its initial collector, and continues on into the ages. Through this, it is able to connect the viewer to humanity in other moments. This always seemed to me to be one of art’s most important purposes. Now, the Stills seemed to be fading away before that could happen.\u003c/p>\n\u003cp>SFMOMA’s Paintings Conservator Paula De Cristofaro explained that “Clyfford Still’s two daughters have, indeed, noted shifts in their father’s paint over time. He created his own paint by grinding dry powder pigment in linseed oil, and the shifts that have been observed may be due to this technique. His paint might age differently from commercially manufactured, artist quality paint, due to the nature of its components.”\u003c/p>\n\u003cp>Okay. Well, it’s actually not okay. Today, museums use state-of-the-art technology to repair and replenish great works of art. Over the years I feel like I’ve seen a bazillion shows on PBS about this.\u003c/p>\n\u003cp>Paula De Cristofaro answered, “Change in an artwork that is inherent to an artist’s technique is not a condition we would consider ‘restoring.’ We accept it as part of the nature of the work.”\u003c/p>\n\u003cp>Maybe Still bequeathed the Museum a lousy batch. In his lifetime Still sold or gave away only about 150 works. Maybe he only mixed his own paints for a brief time.\u003c/p>\n\u003cp>In 2004, Patricia Still, Clyfford’s widow, announced a deal with Denver to build a museum for him, to showcase his nearly 2,400 works. The estate has been in storage for decades, and it was only in the spring of this year that scholars were able to glimpse it.\u003c/p>\n\u003cp>De Cristofaro relates. “My conservation colleagues who are working with the Clyfford Still estate and the new museum in Denver are researching the questions you pose, so in the future I think there will be a lot more information on Still’s technique and the issues of how his paintings age and change. Because this research is ongoing and results are not published and in the public domain, there is not much technical information that my colleagues can provide at this moment.”\u003c/p>\n\u003cp>Armed with this new and awful knowledge, it was easy to begin wondering how many of my favorite works at SFMOMA are fading and changing.\u003c/p>\n\u003cp>“The works in the collection you admire — like the \u003ca href=\"http://collections.sfmoma.org/OBJ55.htm\">Park\u003c/a>, \u003ca href=\"http://collections.sfmoma.org/OBJ4417.htm\">Diebenkorn\u003c/a>, and \u003ca href=\"http://collections.sfmoma.org/OBJ230.htm\">Mitchell\u003c/a> — are all stable and not problematic at this time with regard to shifts in color,” De Cristofaro reassures me.\u003c/p>\n\u003cp>“We exhibit the work in low light levels, and lower still for works that are potentially more sensitive, such as the Rothko. Light levels and the condition of the paintings are closely monitored. The works on paper and in fragile media (water color, magic marker, etc.) are the most fragile in our collection, so we tend to limit their exhibition time and monitor the light levels very closely. Many works are rotated out on a regular basis,” says De Cristofaro.\u003c/p>\n\u003cp>Did Still make his own bed? By contractually obliging the museum to show his paintings continuously he may have relegated them to a sort of forced second class status. Curators often look for connections among works in the collection; finding new relationships to offer the public is an essential part of their job. Still nixed this approach with his self-aggrandizing demands making it pretty easy to ignore the crank in the corner.\u003c/p>\n\u003cp>But curators and directors cycle through, and with the \u003ca href=\"http://www.sfmoma.org/info/mushist_timeline.asp\">recent changing of the administrative guard\u003c/a> at SFMOMA (Director Neal Benezra is known to be a big Still fan), mixed with a national renewed interest in Clyfford Still, has come a rehanging of his work.\u003c/p>\n\u003cp>“We were in storage a while back looking at all of the Still paintings and began thinking about a new rotation,” says Janet Bishop, curator of Painting and Sculpture. “It occurred to us that given the depth of SFMOMA’s Still holdings (we have 30), it would be nice to do a complete re-hang. I was particularly interested in showing some of the early paintings to provide a more expansive sense of Still’s accomplishments, and because they’re just such good little paintings. We haven’t yet planned the next re-hang, but will try to do it again before too long.”\u003c/p>\n\u003cp>I have faith in Still. With brute will, he fought an art establishment to get his way. He did. And I know that, even as they change, his paintings will, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his most recent novel, \u003ca href=\"http://www.amazon.com/Gum-Thief-Novel-Douglas-Coupland/dp/1596911069/ref=pd_bbs_2?ie=UTF8&s=books&qid=1196749227&sr=8-2\">The Gum Thief\u003c/a>, Douglas Coupland explains that we all have an imaginary age we continually perceive ourselves to be. In my head. I’m 25. And SFMOMA’s Clyfford Stills are still rich in red.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whenever someone asks me that age-old question “Who do you like better, Elvis or The Beatles?” I always answer the \u003ca href=\"http://www.deadkennedys.com/\" target=\"offsite\" rel=\"noopener\">Dead Kennedys\u003c/a>.\u003c/p>\n\u003cp>I’m not gonna deny that part of the reason I say it is to be a jerk. But I mean, really, if I have to pick music that zenithed awhile ago, the snotty self-righteousness of \u003ca href=\"http://www.alternativetentacles.com/\" target=\"offsite\" rel=\"noopener\">Jello Biafra\u003c/a> and crew gets my vote.\u003c/p>\n\u003cp>Fortunately for the Bay Area, \u003ca href=\"http://www.bampfa.berkeley.edu/\" target=\"offsite\" rel=\"noopener\">BAM/PFA\u003c/a> recently announced their purchase of 53 photographs by San Francisco’s Bruce Conner — two portfolios of images from his \u003ca href=\"http://en.wikipedia.org/wiki/Mabuhay_Gardens\" target=\"offsite\" rel=\"noopener\">Mabuhay Gardens\u003c/a> series. Shot in 1977-78 and printed in 1985 and 2004, the series came out of his contributions to V. Vale’s punk rag \u003ca href=\"http://zinewiki.com/index.php?title=Search_and_Destroy\" target=\"offsite\" rel=\"noopener\">Search and Destroy\u003c/a>.\u003c/p>\n\u003cp>The photos capture all that beer swill, those skuzzy photocopied fliers, homemade haircuts and second hand clothing, all the while exuding that manic joy of togetherness and the messy physicality that is punk.\u003c/p>\n\u003cp>It’s all there in Conner’s photographs. The sniggering women in the bathroom. The exhausted couples leaning in and whispering. There’s Roz Rezabek, \u003ca href=\"http://en.wikipedia.org/wiki/Negative_Trend\" target=\"offsite\" rel=\"noopener\">Negative Trend\u003c/a>‘s lead singer, sweat-soaked in mid-air, seemingly shot out of a Howitzer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We wanted to touch, to connect with each other, to express ourselves — frustrated and elated — through our bodies. At a \u003ca href=\"http://www.suicidaltendencies.com/\" target=\"offsite\" rel=\"noopener\">Suicidal Tendencies\u003c/a> show, a fellow slammed into my ribs so hard I had trouble breathing for a few days, but when I toppled over in pain, two others picked me up and carried me out. Another time, at a \u003ca href=\"http://www.ramones.com/\" target=\"offsite\" rel=\"noopener\">Ramones\u003c/a> show, a burly guy mashed his elbow into my roommate’s face causing her to bite through part of her tongue. I hailed a taxi to get her to the ER — eight stitches in her tongue.\u003c/p>\n\u003cp>Speaking about the series awhile back, Conner said he had “always liked the idea of action photos. Like — sports events… or combat photography.”\u003c/p>\n\u003cp>The Conner series is perfect for the East Bay, where elements of the counterculture linger on. After all Berkeley is the still home to \u003ca href=\"http://www.924gilman.org/\" target=\"offsite\" rel=\"noopener\">924 Gilman\u003c/a>. Unfortunately BAM/PFA will not be putting the series on view until May 2008.\u003c/p>\n\u003cp>In the meantime, let’s start bugging SFMOMA to rehang some pieces from Conner’s stunning \u003cb>Angel\u003c/b> series. The life-size photograms, made in collaboration with Edmund Shea only a few years before the Mabuhay series, are ethereal images of Conner’s own body floating on a black background — goth before Robert Smith had \u003ca href=\"http://www.thecure.com/\" target=\"offsite\" rel=\"noopener\">The Cure\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if you need a fix immediately, head over to \u003ca href=\"http://www.gallerypauleanglim.com/\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a> and see \u003cb>Works\u003c/b>. The show, running through November 24, 2007, features selection from 40 years’ worth of Bruce Conner’s drawings, paintings collages, tapestries and sculptures.\u003c/p>\n\n",
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"excerpt": "Whenever someone asks me that age-old question \"Who do you like better, Elvis or The Beatles?\" I always answer the \u003ca href=\"http://www.deadkennedys.com/\" target=\"offsite\" rel=\"noopener\">Dead Kennedys\u003c/a>.\u003cp>I'm not gonna deny that part of the reason I say it is to be a jerk. But I mean, really, if I have to pick music that zenithed awhile ago, the snotty self-righteousness of \u003ca href=\"http://www.alternativetentacles.com/\" target=\"offsite\" rel=\"noopener\">Jello Biafra\u003c/a> and crew gets my vote.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever someone asks me that age-old question “Who do you like better, Elvis or The Beatles?” I always answer the \u003ca href=\"http://www.deadkennedys.com/\" target=\"offsite\" rel=\"noopener\">Dead Kennedys\u003c/a>.\u003c/p>\n\u003cp>I’m not gonna deny that part of the reason I say it is to be a jerk. But I mean, really, if I have to pick music that zenithed awhile ago, the snotty self-righteousness of \u003ca href=\"http://www.alternativetentacles.com/\" target=\"offsite\" rel=\"noopener\">Jello Biafra\u003c/a> and crew gets my vote.\u003c/p>\n\u003cp>Fortunately for the Bay Area, \u003ca href=\"http://www.bampfa.berkeley.edu/\" target=\"offsite\" rel=\"noopener\">BAM/PFA\u003c/a> recently announced their purchase of 53 photographs by San Francisco’s Bruce Conner — two portfolios of images from his \u003ca href=\"http://en.wikipedia.org/wiki/Mabuhay_Gardens\" target=\"offsite\" rel=\"noopener\">Mabuhay Gardens\u003c/a> series. Shot in 1977-78 and printed in 1985 and 2004, the series came out of his contributions to V. Vale’s punk rag \u003ca href=\"http://zinewiki.com/index.php?title=Search_and_Destroy\" target=\"offsite\" rel=\"noopener\">Search and Destroy\u003c/a>.\u003c/p>\n\u003cp>The photos capture all that beer swill, those skuzzy photocopied fliers, homemade haircuts and second hand clothing, all the while exuding that manic joy of togetherness and the messy physicality that is punk.\u003c/p>\n\u003cp>It’s all there in Conner’s photographs. The sniggering women in the bathroom. The exhausted couples leaning in and whispering. There’s Roz Rezabek, \u003ca href=\"http://en.wikipedia.org/wiki/Negative_Trend\" target=\"offsite\" rel=\"noopener\">Negative Trend\u003c/a>‘s lead singer, sweat-soaked in mid-air, seemingly shot out of a Howitzer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We wanted to touch, to connect with each other, to express ourselves — frustrated and elated — through our bodies. At a \u003ca href=\"http://www.suicidaltendencies.com/\" target=\"offsite\" rel=\"noopener\">Suicidal Tendencies\u003c/a> show, a fellow slammed into my ribs so hard I had trouble breathing for a few days, but when I toppled over in pain, two others picked me up and carried me out. Another time, at a \u003ca href=\"http://www.ramones.com/\" target=\"offsite\" rel=\"noopener\">Ramones\u003c/a> show, a burly guy mashed his elbow into my roommate’s face causing her to bite through part of her tongue. I hailed a taxi to get her to the ER — eight stitches in her tongue.\u003c/p>\n\u003cp>Speaking about the series awhile back, Conner said he had “always liked the idea of action photos. Like — sports events… or combat photography.”\u003c/p>\n\u003cp>The Conner series is perfect for the East Bay, where elements of the counterculture linger on. After all Berkeley is the still home to \u003ca href=\"http://www.924gilman.org/\" target=\"offsite\" rel=\"noopener\">924 Gilman\u003c/a>. Unfortunately BAM/PFA will not be putting the series on view until May 2008.\u003c/p>\n\u003cp>In the meantime, let’s start bugging SFMOMA to rehang some pieces from Conner’s stunning \u003cb>Angel\u003c/b> series. The life-size photograms, made in collaboration with Edmund Shea only a few years before the Mabuhay series, are ethereal images of Conner’s own body floating on a black background — goth before Robert Smith had \u003ca href=\"http://www.thecure.com/\" target=\"offsite\" rel=\"noopener\">The Cure\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if you need a fix immediately, head over to \u003ca href=\"http://www.gallerypauleanglim.com/\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a> and see \u003cb>Works\u003c/b>. The show, running through November 24, 2007, features selection from 40 years’ worth of Bruce Conner’s drawings, paintings collages, tapestries and sculptures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Art is plastic garbage from the beach scattered on a gallery floor. Art is also a forest of stuffed fabric trees and a drawing of Bigfoot tacked to the wall. After a recent lecture at a local university, gallerist Charles Linder invited the audience back to Lincart, his homey, Market Street art space for an opening reception, which featured the aforementioned art and more unconventionally pleasant surprises.\u003c/p>\n\u003cp>Linder usually curates the gallery himself, but handed the reigns over to Johanna St. Clair and Jay Nelson of \u003ca href=\"http://www.mollusksurfshop.com\" target=\"offsite\" rel=\"noopener\"> Mollusk Surf Shop\u003c/a> for a group show called \u003cb>Biome\u003c/b>. Ten artists participated, and their work is worlds apart, but comes together nicely under the umbrella of landscape interpretations.\u003c/p>\n\u003cp>In the window of the gallery is Charlie Callahan’s huge sea urchin shell painted on contractor’s insulation foam. The same shell shows up again in a back-lit photo of a toy figure with a barnacle for a head. Callahan is also the artist who collected the colorful plastic junk from the beach and arranged it on the floor near a wall painted with a blue blob that backs a few framed collage paintings. The debris is at once attractive and sad with its shiny, bright colors. The sad part is the realization that it probably choked some cute, fuzzy sea creature at one point or another. Callahan also turned a rounded piece of driftwood into a video portal — if you kneel down on the floor and put your eye up to a small hole in the wood, you’ll see footage of rippling water, which I think is even more awesome than the \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=19821\">Olafur Eliasson\u003c/a> rippling water projection I saw at SFMOMA last month.\u003c/p>\n\u003cp>Eleanor Harwood, an artist who also owns a gallery in the Mission, painted a traditional scenic landscape of trees and mountains using non-traditional methods, with gorgeous results. I also enjoyed the Bigfoot watercolor drawing mentioned earlier, the work of Santa Cruz artist Kyle Field, who played music at the opening and was also showing a skewed graphic watercolor map of San Francisco. I have a postcard of that map hanging in my office, in case I get lost.\u003c/p>\n\u003cp>I definitely got a beach-friendly vibe from \u003cb>Biome\u003c/b>. Maybe it was because I already knew the curators were associated with Mollusk, or maybe it was Charlie Callahan’s ocean-related work, or maybe it was the worn, driftwood-looking floor of the gallery, but I had a sense that after the opening, everyone probably headed down the Great Highway for a beach bonfire and some acoustic guitar. Not a bad ending to a successful, feel good opening reception. I hope that’s what they did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Biome\u003c/b> is on view through November 30, 2007 at Lincart.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art is plastic garbage from the beach scattered on a gallery floor. Art is also a forest of stuffed fabric trees and a drawing of Bigfoot tacked to the wall. After a recent lecture at a local university, gallerist Charles Linder invited the audience back to Lincart, his homey, Market Street art space for an opening reception, which featured the aforementioned art and more unconventionally pleasant surprises.\u003c/p>\n\u003cp>Linder usually curates the gallery himself, but handed the reigns over to Johanna St. Clair and Jay Nelson of \u003ca href=\"http://www.mollusksurfshop.com\" target=\"offsite\" rel=\"noopener\"> Mollusk Surf Shop\u003c/a> for a group show called \u003cb>Biome\u003c/b>. Ten artists participated, and their work is worlds apart, but comes together nicely under the umbrella of landscape interpretations.\u003c/p>\n\u003cp>In the window of the gallery is Charlie Callahan’s huge sea urchin shell painted on contractor’s insulation foam. The same shell shows up again in a back-lit photo of a toy figure with a barnacle for a head. Callahan is also the artist who collected the colorful plastic junk from the beach and arranged it on the floor near a wall painted with a blue blob that backs a few framed collage paintings. The debris is at once attractive and sad with its shiny, bright colors. The sad part is the realization that it probably choked some cute, fuzzy sea creature at one point or another. Callahan also turned a rounded piece of driftwood into a video portal — if you kneel down on the floor and put your eye up to a small hole in the wood, you’ll see footage of rippling water, which I think is even more awesome than the \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=19821\">Olafur Eliasson\u003c/a> rippling water projection I saw at SFMOMA last month.\u003c/p>\n\u003cp>Eleanor Harwood, an artist who also owns a gallery in the Mission, painted a traditional scenic landscape of trees and mountains using non-traditional methods, with gorgeous results. I also enjoyed the Bigfoot watercolor drawing mentioned earlier, the work of Santa Cruz artist Kyle Field, who played music at the opening and was also showing a skewed graphic watercolor map of San Francisco. I have a postcard of that map hanging in my office, in case I get lost.\u003c/p>\n\u003cp>I definitely got a beach-friendly vibe from \u003cb>Biome\u003c/b>. Maybe it was because I already knew the curators were associated with Mollusk, or maybe it was Charlie Callahan’s ocean-related work, or maybe it was the worn, driftwood-looking floor of the gallery, but I had a sense that after the opening, everyone probably headed down the Great Highway for a beach bonfire and some acoustic guitar. Not a bad ending to a successful, feel good opening reception. I hope that’s what they did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Whenever works from the collection of Hunk and Moo Anderson are on display in a public place, people who enjoy contemporary art should absolutely make the effort to see them, even if the objects selected have been forced into as slender a conceit as \u003cb>De-Natured: Works from the Anderson Collection and the Anderson Graphic Collection\u003c/b>, now on view at the San Jose Museum of Art through January 6, 2008.\u003c/p>\n\u003cp>The premise of guest curator Heather Pamela Green’s exhibition must have looked promising in PowerPoint: Cherry pick some of the best pieces from what is arguably the best private collection of contemporary art in the San Francisco Bay Area, wrap those paintings, prints, and sculptures in a modest, if timely, rumination on global warming and urban sprawl, and then lead the viewer by the nose past pieces that bolster the curator’s themes of Altered Environment, Estranged Surroundings, Mediated Nature, and Abstracted Nature. Unfortunately, the well-intentioned premise of this show and the reality of the objects themselves are not always in agreement.\u003c/p>\n\u003cp>In fairness to Green, shows like this are tough to pull off. First, they are crippled by the limits of whatever the collectors, even ones as visionary as the Andersons, have happened to collect. For example, one of Peter Alexander’s paintings of the greater Los Angeles basin as seen from the air at night, with their dappled grids of artificial streetlights defining that landscape’s characteristic natural topography, would have been perfect here, but perhaps the Andersons don’t own such a piece. But a larger problem concerns the act of treating works of art like so many head of cattle to be corralled and branded with an idea that the artists themselves may or may not embrace. Would it be such a crime to permit the many remarkable pieces in this concise exhibition to simply speak for themselves? Forcing art into one box or another feels as unnatural as the world Green claims many of these artists are railing against.\u003c/p>\n\u003cp>The show begins with a brooding Terry Winters oil on linen from 1982 called \u003cb>Theophrastus’ Garden\u003c/b>. I had to look it up: According to Wikipedia, Theophrastus succeeded Aristotle at the Lyceum and wrote a whole bunch of books about plants, so the decision by Winters to transform Theophrastus’ garden, of all gardens, into a virtually denuded, scorched-earth landscape suggests that artist is digging deep to express his frustration about contemporary humankind’s betrayal of nature. It’s a good start for the show, but things quickly get squirrelly. A few yards away from the Winters are four prints by Richard Estes from his \u003cb>Urban Landscapes I\u003c/b> series. Described as “nightmarish” and evidence of the “horror of the city” in the catalog, the prints do indeed depict a lot of concrete and glass and steel, the building blocks of urban spaces. I guess, though, that I have always assumed that Estes had to have been at least somewhat fond of the landscapes he was taking such pains to photorealistically depict. To hear the curator tell it, these highly polished works of highly polished places are intended to give voice to the suffering of the soul for a truly natural world. Maybe Estes was simply trying to show us how beautiful the human-made landscape could be. If so, that would be an inconvenient truth.\u003c/p>\n\u003cp>Instead of dwelling on the exhibition’s numerous other disconnects, better, then, to focus on the multiple visual gifts that are on display. There’s William T. Wiley’s \u003cb>Lame and Blind in Eden\u003c/b>, one of the artist’s loveliest watercolors from the late 1960s (although the suggestion in the catalog that Wiley was merely commenting on paradise lost does not exactly square with the watercolor’s depiction of casual clutter and random disarray, much of which appears to be the result of the untidy practices of the artist himself). Next to this piece is the exhibition’s showstopper, William Allan’s \u003cb>Half A Dam\u003c/b>, an almost 12-foot-wide painting of, yes, half a dam, blocking but not halting the progress of a wild, churning river. Among other things, I love how Allan has painted a salmon, as if it had been collaged Jess-like, on the riverbank’s lovingly rendered rocks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Donald Sultan’s \u003cb>Factory Fire, August 8, 1985\u003c/b> uses generous amounts of inky-black tar and bilious-yellow paint on vinyl tile to conjure the smoke and stench of an urban inferno. \u003cb>Shooting Star\u003c/b> by Ed Ruscha is predictably, but effectively, placed near a pair of Vija Celmins graphite drawings, which are just a few steps away from \u003cb>Paper Pool 14\u003c/b>, a gorgeous David Hockney that has no serious reason to be here but is a treat to ogle nonetheless. Similarly out of place but a pleasure to see are Michael Lucero’s \u003cb>Red Sea\u003c/b> and Richard Diebenkorn’s \u003cb>Ocean Park #60\u003c/b>.\u003c/p>\n\u003cp>Even less central to the show’s premise are the small Frank Stella lithographs and mid-size Sean Scully painting, which are so secondary to the proceedings they have been hung practically in a stairwell. Still, I’m grateful they are here, if not for the reasons the show’s organizers probably hoped. All I can say is thanks Hunk & Moo!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>De-Natured: Works from the Anderson Collection and the Anderson Graphic Collection\u003c/b> is on view at the San Jose Museum of Art through January 6, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever works from the collection of Hunk and Moo Anderson are on display in a public place, people who enjoy contemporary art should absolutely make the effort to see them, even if the objects selected have been forced into as slender a conceit as \u003cb>De-Natured: Works from the Anderson Collection and the Anderson Graphic Collection\u003c/b>, now on view at the San Jose Museum of Art through January 6, 2008.\u003c/p>\n\u003cp>The premise of guest curator Heather Pamela Green’s exhibition must have looked promising in PowerPoint: Cherry pick some of the best pieces from what is arguably the best private collection of contemporary art in the San Francisco Bay Area, wrap those paintings, prints, and sculptures in a modest, if timely, rumination on global warming and urban sprawl, and then lead the viewer by the nose past pieces that bolster the curator’s themes of Altered Environment, Estranged Surroundings, Mediated Nature, and Abstracted Nature. Unfortunately, the well-intentioned premise of this show and the reality of the objects themselves are not always in agreement.\u003c/p>\n\u003cp>In fairness to Green, shows like this are tough to pull off. First, they are crippled by the limits of whatever the collectors, even ones as visionary as the Andersons, have happened to collect. For example, one of Peter Alexander’s paintings of the greater Los Angeles basin as seen from the air at night, with their dappled grids of artificial streetlights defining that landscape’s characteristic natural topography, would have been perfect here, but perhaps the Andersons don’t own such a piece. But a larger problem concerns the act of treating works of art like so many head of cattle to be corralled and branded with an idea that the artists themselves may or may not embrace. Would it be such a crime to permit the many remarkable pieces in this concise exhibition to simply speak for themselves? Forcing art into one box or another feels as unnatural as the world Green claims many of these artists are railing against.\u003c/p>\n\u003cp>The show begins with a brooding Terry Winters oil on linen from 1982 called \u003cb>Theophrastus’ Garden\u003c/b>. I had to look it up: According to Wikipedia, Theophrastus succeeded Aristotle at the Lyceum and wrote a whole bunch of books about plants, so the decision by Winters to transform Theophrastus’ garden, of all gardens, into a virtually denuded, scorched-earth landscape suggests that artist is digging deep to express his frustration about contemporary humankind’s betrayal of nature. It’s a good start for the show, but things quickly get squirrelly. A few yards away from the Winters are four prints by Richard Estes from his \u003cb>Urban Landscapes I\u003c/b> series. Described as “nightmarish” and evidence of the “horror of the city” in the catalog, the prints do indeed depict a lot of concrete and glass and steel, the building blocks of urban spaces. I guess, though, that I have always assumed that Estes had to have been at least somewhat fond of the landscapes he was taking such pains to photorealistically depict. To hear the curator tell it, these highly polished works of highly polished places are intended to give voice to the suffering of the soul for a truly natural world. Maybe Estes was simply trying to show us how beautiful the human-made landscape could be. If so, that would be an inconvenient truth.\u003c/p>\n\u003cp>Instead of dwelling on the exhibition’s numerous other disconnects, better, then, to focus on the multiple visual gifts that are on display. There’s William T. Wiley’s \u003cb>Lame and Blind in Eden\u003c/b>, one of the artist’s loveliest watercolors from the late 1960s (although the suggestion in the catalog that Wiley was merely commenting on paradise lost does not exactly square with the watercolor’s depiction of casual clutter and random disarray, much of which appears to be the result of the untidy practices of the artist himself). Next to this piece is the exhibition’s showstopper, William Allan’s \u003cb>Half A Dam\u003c/b>, an almost 12-foot-wide painting of, yes, half a dam, blocking but not halting the progress of a wild, churning river. Among other things, I love how Allan has painted a salmon, as if it had been collaged Jess-like, on the riverbank’s lovingly rendered rocks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Donald Sultan’s \u003cb>Factory Fire, August 8, 1985\u003c/b> uses generous amounts of inky-black tar and bilious-yellow paint on vinyl tile to conjure the smoke and stench of an urban inferno. \u003cb>Shooting Star\u003c/b> by Ed Ruscha is predictably, but effectively, placed near a pair of Vija Celmins graphite drawings, which are just a few steps away from \u003cb>Paper Pool 14\u003c/b>, a gorgeous David Hockney that has no serious reason to be here but is a treat to ogle nonetheless. Similarly out of place but a pleasure to see are Michael Lucero’s \u003cb>Red Sea\u003c/b> and Richard Diebenkorn’s \u003cb>Ocean Park #60\u003c/b>.\u003c/p>\n\u003cp>Even less central to the show’s premise are the small Frank Stella lithographs and mid-size Sean Scully painting, which are so secondary to the proceedings they have been hung practically in a stairwell. Still, I’m grateful they are here, if not for the reasons the show’s organizers probably hoped. All I can say is thanks Hunk & Moo!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>De-Natured: Works from the Anderson Collection and the Anderson Graphic Collection\u003c/b> is on view at the San Jose Museum of Art through January 6, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Think about stockings, graffiti chicks, origami, crumpled stationary, scented tissues, lip gloss and sweet scented girl rooms…” and you’ve got \u003cb>Sweet Sunny Temper\u003c/b>, a new exhibit in the upstairs gallery of Double Punch, a delicious toy store in North Beach. Painted with a pale pink border of kissing whales, like the decor one might find in a little girl’s fancy bedroom, the gallery is designed to bring on a nearly visceral girly feeling. The work of five Bay Area female artists will inevitably be described as “cute,” but there are a few subversive edges and conniving winks tucked into the pervasive adorability.\u003c/p>\n\u003cp>In this context, Natalie Roland’s prints of intense animals are striking because they are the least girly. My favorite is of a drunken bear called \u003cb>Romeo was from the wrong family\u003c/b>. Kelly Tunstall contributes a series of doe-eyed, long-necked women on wood, canvas, and air-mail envelopes. Fawn Gehweiler’s cartoon ladies are rendered in a strictly pink and black palette, and Jessica Whiteside’s unapologetically girlish collection of sullen sex kittens, hearts and birds, stands out — maybe because she painted the wall behind it. Looking at white walls gets old, so anyone who takes the time to prepare a different surface should get extra points. It’s like making sure your artwork has a homey place to hang out.\u003c/p>\n\u003cp>Despite the collective niceties of the other artists’ work, Leah Brawley totally stole the show for me with her delicately rendered watercolors. At the top of the stairs to the gallery, Brawley’s first painting (of a girl dressed in frilly clothing) greets you with the phrase, “hajimemashite,” (nice to meet you). With titles like \u003cb>When I leave my apartment in the morning I can smell the trees in the park\u003c/b>, Brawley calls her works tiny self-portraits “that serve as a visual diary of thoughts and desires.” My favorite is a painting of a tangled mess of ladies in candy-colored leggings. Backed by flowered paper in a simple wooden frame, it reminded me of a lovely tea party. The artist also painted a series of small, colorful wooden dolls called \u003cb>Friends\u003c/b>, the only sculptural works in the show.\u003c/p>\n\u003cp>While it was encouraging to see an exhibit of all female artists, I was left wondering why so many young women painters lean toward the cutesy aesthetic. As someone who paints glitter ponies and ice cream sandwiches, I have a theory that it’s due to growing up with cartoons, friendship bracelets, sleepovers, and Barbie commercials. It’s a way of referencing and idealizing those innocent times as we venture further and further into Grown-up Land.\u003c/p>\n\u003cp>Though \u003cb>Sweet Sunny Temper\u003c/b>, curated by Lian Ladia, has a decidedly feminine feel and made me want to run home and paint everything pink, everyone will undoubtedly love Double Punch because of its reasonably priced artwork and happy kid, fun time atmosphere. You can purchase small paintings and prints on consignment and all the collectible Japanese toys your heart desires. I got a killer panda zombie and a tiny cow shaped like a milk bottle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Sweet Sunny Temper\u003c/b> is at Double Punch through November 16, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Think about stockings, graffiti chicks, origami, crumpled stationary, scented tissues, lip gloss and sweet scented girl rooms…” and you’ve got \u003cb>Sweet Sunny Temper\u003c/b>, a new exhibit in the upstairs gallery of Double Punch, a delicious toy store in North Beach. Painted with a pale pink border of kissing whales, like the decor one might find in a little girl’s fancy bedroom, the gallery is designed to bring on a nearly visceral girly feeling. The work of five Bay Area female artists will inevitably be described as “cute,” but there are a few subversive edges and conniving winks tucked into the pervasive adorability.\u003c/p>\n\u003cp>In this context, Natalie Roland’s prints of intense animals are striking because they are the least girly. My favorite is of a drunken bear called \u003cb>Romeo was from the wrong family\u003c/b>. Kelly Tunstall contributes a series of doe-eyed, long-necked women on wood, canvas, and air-mail envelopes. Fawn Gehweiler’s cartoon ladies are rendered in a strictly pink and black palette, and Jessica Whiteside’s unapologetically girlish collection of sullen sex kittens, hearts and birds, stands out — maybe because she painted the wall behind it. Looking at white walls gets old, so anyone who takes the time to prepare a different surface should get extra points. It’s like making sure your artwork has a homey place to hang out.\u003c/p>\n\u003cp>Despite the collective niceties of the other artists’ work, Leah Brawley totally stole the show for me with her delicately rendered watercolors. At the top of the stairs to the gallery, Brawley’s first painting (of a girl dressed in frilly clothing) greets you with the phrase, “hajimemashite,” (nice to meet you). With titles like \u003cb>When I leave my apartment in the morning I can smell the trees in the park\u003c/b>, Brawley calls her works tiny self-portraits “that serve as a visual diary of thoughts and desires.” My favorite is a painting of a tangled mess of ladies in candy-colored leggings. Backed by flowered paper in a simple wooden frame, it reminded me of a lovely tea party. The artist also painted a series of small, colorful wooden dolls called \u003cb>Friends\u003c/b>, the only sculptural works in the show.\u003c/p>\n\u003cp>While it was encouraging to see an exhibit of all female artists, I was left wondering why so many young women painters lean toward the cutesy aesthetic. As someone who paints glitter ponies and ice cream sandwiches, I have a theory that it’s due to growing up with cartoons, friendship bracelets, sleepovers, and Barbie commercials. It’s a way of referencing and idealizing those innocent times as we venture further and further into Grown-up Land.\u003c/p>\n\u003cp>Though \u003cb>Sweet Sunny Temper\u003c/b>, curated by Lian Ladia, has a decidedly feminine feel and made me want to run home and paint everything pink, everyone will undoubtedly love Double Punch because of its reasonably priced artwork and happy kid, fun time atmosphere. You can purchase small paintings and prints on consignment and all the collectible Japanese toys your heart desires. I got a killer panda zombie and a tiny cow shaped like a milk bottle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Galleries rarely invite interns to exhibit artwork, which is why the fundamental concept of the current exhibit at Hamburger Eyes Photo Epicenter is, in itself, a \u003cb>Flawless Victory\u003c/b>. Artists Oscar Mendoza and Alexander Martinez are roommates and \u003ca href=\"http://www.burgerworldchronicles.com/\" target=\"offsite\" rel=\"noopener\">Burgerworld Media\u003c/a> interns who have been working with the concept of flawless victories. Beyond referencing a popular video game, the artists attribute the term to people or moments (or people having moments) that are perfect in their own way. Mendoza put it best when discussing his personally familiar photo subjects, “If there is someone important to you, they will always seem flawless.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.oscardotcom.com\" target=\"offsite\" rel=\"noopener\">Mendoza\u003c/a> is studying photography and his images include a girl in an embroidered denim dress holding a crossbow, a suited man pledging allegiance in front of city hall, and a skater holding a bag of chips in the air as if he were the street version of John Cusack in \u003ca href=\"http://www.imdb.com/title/tt0098258/\" target=\"offsite\" rel=\"noopener\">Say Anything\u003c/a>. Mendoza staged some of his portraits to represent his subjects’ unique perfections. He aptly communicates the global truth that we revere our loved ones regardless of their flaws and that “it is the flaws that make us who we are, and what makes us truly victorious.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.stopinternetromance.com\" target=\"offsite\" rel=\"noopener\">Martinez\u003c/a> recently graduated with a degree in cultural anthropology and uses photography as a tool for fact-finding. When I asked about a photo of a blonde girl with a cookie on her shoulder, he told me the story behind it, and how the moment came to be a personal victory. It was one of those moments that’s semi-funny when related, but epically hilarious in person. Cute girls are a repeated subject in both photographers’ work — as Martinez said in an interview with \u003ca href=\"http://www.ourartsite.com/interview/alex.php\" target=\"offsite\" rel=\"noopener\">our art site\u003c/a>, it helps to have hot friends. Martinez also points out that there are no victories without victims by including images of a few suckers and their minor tragedies in black and white shots hung at the bottom of his photo cluster with dark red paint dripping down from behind their frames.\u003c/p>\n\u003cp>The importance of these photos lies in their personal meaning, their stories, and the love they express. Both artists aim to present positive reflections, winning moments, and small victories that may otherwise be forgotten or unnoticed. Painted on the walls among their photographs are winsome illustrations by Lacy McCune of the artists’ “spirit animals” — Martinez is a wise owl, Mendoza is a savage bear. The show also has a hidden exhibit of b-side shots installed in the bathroom. This part of the exhibit, titled \u003cb>The Endless Slummer\u003c/b> includes some egregiously successful photos, most of which are on sale for twenty bucks.\u003c/p>\n\u003cp>It appears that both Mendoza and Martinez have wisely chosen their photographic destinies by absorbing the knowledge of \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=10802\" target=\"offsite\" rel=\"noopener\">Hamburger Eyes experts\u003c/a>, and I expect the artists’ future endeavors to yield continued victorious flawlessness. Visit Hamburger Eyes Photo Epicenter to witness the dream being lived. Besides the nice gallery space, they offer darkroom rentals, professional photo printing, workshops, classes, awesome t-shirts, ‘zines, and DVDs. If the door is locked, just ring the bell and someone (possibly a \u003ca href=\"http://www.raypotes.com/shaka/\" target=\"offsite\" rel=\"noopener\">super-rad photographer\u003c/a>) will toss you the key from the upstairs window so you can let yourself in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alex and Oscar: Flawless Victory\u003c/b> is at Hamburger Eyes Photo Epicenter through November 1, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Galleries rarely invite interns to exhibit artwork, which is why the fundamental concept of the current exhibit at Hamburger Eyes Photo Epicenter is, in itself, a \u003cb>Flawless Victory\u003c/b>. Artists Oscar Mendoza and Alexander Martinez are roommates and \u003ca href=\"http://www.burgerworldchronicles.com/\" target=\"offsite\" rel=\"noopener\">Burgerworld Media\u003c/a> interns who have been working with the concept of flawless victories. Beyond referencing a popular video game, the artists attribute the term to people or moments (or people having moments) that are perfect in their own way. Mendoza put it best when discussing his personally familiar photo subjects, “If there is someone important to you, they will always seem flawless.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.oscardotcom.com\" target=\"offsite\" rel=\"noopener\">Mendoza\u003c/a> is studying photography and his images include a girl in an embroidered denim dress holding a crossbow, a suited man pledging allegiance in front of city hall, and a skater holding a bag of chips in the air as if he were the street version of John Cusack in \u003ca href=\"http://www.imdb.com/title/tt0098258/\" target=\"offsite\" rel=\"noopener\">Say Anything\u003c/a>. Mendoza staged some of his portraits to represent his subjects’ unique perfections. He aptly communicates the global truth that we revere our loved ones regardless of their flaws and that “it is the flaws that make us who we are, and what makes us truly victorious.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.stopinternetromance.com\" target=\"offsite\" rel=\"noopener\">Martinez\u003c/a> recently graduated with a degree in cultural anthropology and uses photography as a tool for fact-finding. When I asked about a photo of a blonde girl with a cookie on her shoulder, he told me the story behind it, and how the moment came to be a personal victory. It was one of those moments that’s semi-funny when related, but epically hilarious in person. Cute girls are a repeated subject in both photographers’ work — as Martinez said in an interview with \u003ca href=\"http://www.ourartsite.com/interview/alex.php\" target=\"offsite\" rel=\"noopener\">our art site\u003c/a>, it helps to have hot friends. Martinez also points out that there are no victories without victims by including images of a few suckers and their minor tragedies in black and white shots hung at the bottom of his photo cluster with dark red paint dripping down from behind their frames.\u003c/p>\n\u003cp>The importance of these photos lies in their personal meaning, their stories, and the love they express. Both artists aim to present positive reflections, winning moments, and small victories that may otherwise be forgotten or unnoticed. Painted on the walls among their photographs are winsome illustrations by Lacy McCune of the artists’ “spirit animals” — Martinez is a wise owl, Mendoza is a savage bear. The show also has a hidden exhibit of b-side shots installed in the bathroom. This part of the exhibit, titled \u003cb>The Endless Slummer\u003c/b> includes some egregiously successful photos, most of which are on sale for twenty bucks.\u003c/p>\n\u003cp>It appears that both Mendoza and Martinez have wisely chosen their photographic destinies by absorbing the knowledge of \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=10802\" target=\"offsite\" rel=\"noopener\">Hamburger Eyes experts\u003c/a>, and I expect the artists’ future endeavors to yield continued victorious flawlessness. Visit Hamburger Eyes Photo Epicenter to witness the dream being lived. Besides the nice gallery space, they offer darkroom rentals, professional photo printing, workshops, classes, awesome t-shirts, ‘zines, and DVDs. If the door is locked, just ring the bell and someone (possibly a \u003ca href=\"http://www.raypotes.com/shaka/\" target=\"offsite\" rel=\"noopener\">super-rad photographer\u003c/a>) will toss you the key from the upstairs window so you can let yourself in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last year I was blown away by guest curator, Carol Marie Garcia’s exhibition \u003cb>Laughing Bones/Weeping Hearts: Días de los Muertos 2006\u003c/b>, at the the Oakland Museum of California in celebration of Días de los Muertos (Day of the Dead). So, it was with some nervous expectation that I entered this year’s \u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> at the Oakland Museum of California. Would it be the same? How could the museum top last year? \u003c/p>\n\u003cp>Of course, you can’t duplicate a standout exhibition, but you can stand out on your own in a whole new way — and that’s just what the Oakland Museum has done this year. \u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> marks the 14th year that the Oakland Museum of California has celebrated the Day of the Dead. Although the exhibition is smaller in size than last year, the museum once again presents visitors with a thoughtful and colorful exhibition. Anjee Helstrup-Alvarez, associate director/curator of San Jose’s \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=13801\">Movimiento de Arte y Cultura Latino Americana\u003c/a> (MACLA), guest curated the special exhibition of ofrendas created by local artists that reinterpret traditional meanings of the holiday while looking at current urban conflicts. The background for each ofrenda is painted a different color and each offers a different perspective on tradition celebrations.\u003c/p>\n\u003cp>The threat of urban violence is present in more than one of the ofrendas (ofrenda means offering in Spanish and in this case, the altars built to remember and honor the dead). In one corner of the exhibition there is a recreation of the street altar that was built after \u003ci>Oakland Post\u003c/i> Editor, Chauncey Wendell Bailey Jr. was gunned down on August 2, 2007, in downtown Oakland. Photos of the actual street altar hang above the one installed at the museum. In one powerful image, which depicts the impact of violence, a young child on a bicycle has stopped in front of the memorial to take a look. In another ofrenda, \u003cb>Amor Eterno/Eternal Love\u003c/b>, school children from the Reach Academy created R.I.P. t-shirts to honor those who died by violent death.\u003c/p>\n\u003cp>Aida Gamez’s \u003cb>El Camino a Ningún Lado/Road to Nowhere\u003c/b>, combines the use of cornhusks and a Buddhist mandala to honor those who have died while trying to cross over the border into the United States. Her ofrenda reminds viewers that the story of illegal immigration is not simply a news article about laws and statistics. Gamez puts a human face on those who have died, filling the mandala with photos and writing their names on the corn husks that hang from the ceiling. The artwork seems to ask, what if you knew one of these people? What if you knew them all? How would you honor them?\u003c/p>\n\u003cp>We live in a fast-paced world where reflection is often neglected and important thoughts become passing thoughts. But, if you don’t slow down enough to thoroughly investigate this exhibition you will miss many fine points, like an ofrenda about a storyteller and film fanatic who was deaf; the “giant petrified tears” in the curious tale of the search for a mythical land, Mictlan; the story behind the circle of coal at the center of Elizabeth Gomez’s vibrantly colored \u003cb>Inversion Termal/Thermal Inversion\u003c/b>; or a lone telephone that sits on a stand with a sign in small letters instructing, “Levante el teléfono. Pick up the phone.” On the line listeners hear the voice of Antonio (Tony) Salazar asking you to leave a message, which, upon the realization that he is an honoree in the ofrenda to the left of the phone, is very moving to anyone who longs to hear the voice of a lost loved one, one more time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> Walking through the exhibition, I couldn’t help, but wonder about how I honor and remember the dead? Is there more to losing someone than anger, sadness or relief? The ofrendas offered me peace and contentment, and I was delighted by the array of remembrances and objects that the artists had chosen to represent the lives of those past. Just when I was circling the gallery for the last time, I spied a place where museum visitors were invited to write down the name of someone they knew who had passed away, to add to a community ofrenda. I picked out a dark blue circle of tissue paper, the favorite color of the person I had been thinking about throughout the exhibition, scribbled down the name, folded the tissue paper in 8ths, and placed it in the metal grid that held other names on other tissue papers.Together they appeared as colorful flowers poking out of the metal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> at the \u003cb>Oakland Museum of California \u003c/b> runs from October 10 – December 2, 2007. For more information visit \u003ca href=\"http://www.museumca.org/visit/index.html\" target=\"offsite\" rel=\"noopener\">museumca.org\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year I was blown away by guest curator, Carol Marie Garcia’s exhibition \u003cb>Laughing Bones/Weeping Hearts: Días de los Muertos 2006\u003c/b>, at the the Oakland Museum of California in celebration of Días de los Muertos (Day of the Dead). So, it was with some nervous expectation that I entered this year’s \u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> at the Oakland Museum of California. Would it be the same? How could the museum top last year? \u003c/p>\n\u003cp>Of course, you can’t duplicate a standout exhibition, but you can stand out on your own in a whole new way — and that’s just what the Oakland Museum has done this year. \u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> marks the 14th year that the Oakland Museum of California has celebrated the Day of the Dead. Although the exhibition is smaller in size than last year, the museum once again presents visitors with a thoughtful and colorful exhibition. Anjee Helstrup-Alvarez, associate director/curator of San Jose’s \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=13801\">Movimiento de Arte y Cultura Latino Americana\u003c/a> (MACLA), guest curated the special exhibition of ofrendas created by local artists that reinterpret traditional meanings of the holiday while looking at current urban conflicts. The background for each ofrenda is painted a different color and each offers a different perspective on tradition celebrations.\u003c/p>\n\u003cp>The threat of urban violence is present in more than one of the ofrendas (ofrenda means offering in Spanish and in this case, the altars built to remember and honor the dead). In one corner of the exhibition there is a recreation of the street altar that was built after \u003ci>Oakland Post\u003c/i> Editor, Chauncey Wendell Bailey Jr. was gunned down on August 2, 2007, in downtown Oakland. Photos of the actual street altar hang above the one installed at the museum. In one powerful image, which depicts the impact of violence, a young child on a bicycle has stopped in front of the memorial to take a look. In another ofrenda, \u003cb>Amor Eterno/Eternal Love\u003c/b>, school children from the Reach Academy created R.I.P. t-shirts to honor those who died by violent death.\u003c/p>\n\u003cp>Aida Gamez’s \u003cb>El Camino a Ningún Lado/Road to Nowhere\u003c/b>, combines the use of cornhusks and a Buddhist mandala to honor those who have died while trying to cross over the border into the United States. Her ofrenda reminds viewers that the story of illegal immigration is not simply a news article about laws and statistics. Gamez puts a human face on those who have died, filling the mandala with photos and writing their names on the corn husks that hang from the ceiling. The artwork seems to ask, what if you knew one of these people? What if you knew them all? How would you honor them?\u003c/p>\n\u003cp>We live in a fast-paced world where reflection is often neglected and important thoughts become passing thoughts. But, if you don’t slow down enough to thoroughly investigate this exhibition you will miss many fine points, like an ofrenda about a storyteller and film fanatic who was deaf; the “giant petrified tears” in the curious tale of the search for a mythical land, Mictlan; the story behind the circle of coal at the center of Elizabeth Gomez’s vibrantly colored \u003cb>Inversion Termal/Thermal Inversion\u003c/b>; or a lone telephone that sits on a stand with a sign in small letters instructing, “Levante el teléfono. Pick up the phone.” On the line listeners hear the voice of Antonio (Tony) Salazar asking you to leave a message, which, upon the realization that he is an honoree in the ofrenda to the left of the phone, is very moving to anyone who longs to hear the voice of a lost loved one, one more time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> Walking through the exhibition, I couldn’t help, but wonder about how I honor and remember the dead? Is there more to losing someone than anger, sadness or relief? The ofrendas offered me peace and contentment, and I was delighted by the array of remembrances and objects that the artists had chosen to represent the lives of those past. Just when I was circling the gallery for the last time, I spied a place where museum visitors were invited to write down the name of someone they knew who had passed away, to add to a community ofrenda. I picked out a dark blue circle of tissue paper, the favorite color of the person I had been thinking about throughout the exhibition, scribbled down the name, folded the tissue paper in 8ths, and placed it in the metal grid that held other names on other tissue papers.Together they appeared as colorful flowers poking out of the metal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ancient Roots/Urban Journeys: Expressions for Días de los Muertos\u003c/b> at the \u003cb>Oakland Museum of California \u003c/b> runs from October 10 – December 2, 2007. For more information visit \u003ca href=\"http://www.museumca.org/visit/index.html\" target=\"offsite\" rel=\"noopener\">museumca.org\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Room for one colour \u003c/b>is a space flooded with a warm, uneasy yellow light. \u003cb>Model room\u003c/b> is a studio filled with crooked white shelves packed with geometric forms — wire sculptures, cardboard maquettes, and mirrored illusions. \u003cb>360° room for all colours\u003c/b> is a large circular wall that envelops viewers as its color-changing mood light gradually fades through the color spectrum — blue creeping into red, then fading to green with seemingly no pattern at all. At the end of a dark, ruddy tunnel, lined with \u003cb>Soil quasi bricks\u003c/b>, is \u003cb>Notion motion\u003c/b>, an illuminated screen projected with water ripples that shift with the movement in the room. Loud creaks are emitted from wooden floorboards, a few of which are spring-loaded and surprisingly loud juxtaposed with the strangled silence of \u003cb>Beauty\u003c/b> — another room near the tunnel. Blindingly dark, the room features a fine mist raining down from the center, lit only by a very dim lamp. Like a child running through a forbidden sprinkler, you are invited to walk through the misty curtain and watch as others walk under it and disappear into the darkness. This is Olafur Eliasson’s new exhibit at SFMOMA, and this is only the beginning.\u003c/p>\n\u003cp>Attention reader: The continued perusal of this review could potentially spoil your viewing experience. If you need no convincing, stop reading now and come back later. \u003c/p>\n\u003cp>Upon entering the museum, you’ll notice a black electric fan dangling from a cord, spinning like a wild pendulum around the lobby. Mere inches from a tall person’s head and powered by its own wind, \u003cb>Ventilator\u003c/b> was the first indication that Eliasson’s work is unexpected. The fan was originally installed at shoulder-level, but I guess San Franciscans are too soft for such dangerous art. \u003c/p>\n\u003cp>SFMOMA’s fifth floor turret bridge is transformed into \u003cb>One-way colour tunnel\u003c/b>, which is made of rainbow colored prismatic mirrors. Various other alcoves in the building are transformed into mirrored boxes you can look in — or in some cases — enter to see a multiplicity of reflections of yourself. Eliasson’s exhibit provides a unique experience for each viewer, while at the same time encouraging self-awareness and the consideration of the idea that uniqueness is debatable. \u003c/p>\n\u003cp>Here are some thoughts I had while viewing the reflective pieces:\u003cbr>This is what lots of me would look like.\u003cbr>Somewhere in the universe, someone is doing the exact same thing I’m doing.\u003cbr>I should never wear this sweater again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Take your time\u003c/b> is the title of Eliasson’s installation series, and it should be taken quite literally. You shouldn’t rush through, and you probably won’t want to. More than once I asked the guards, “Can we go in there?” and then “Are you sure?” Eliasson scientifically brings out the precocious child in his viewer. His installations gently force you to interact with them and to reevaluate your awareness of light, space, and temperature and how each element alters your environmental perceptions. \u003c/p>\n\u003cp>As if the transformative installations on the fifth floor weren’t enough, this is also the first public showing of Eliasson’s ice car. On the second floor of the museum, Eliasson’s creation for BMW’s Art Car program is on display. Titled \u003cb>Your mobile expectations\u003c/b> the icy automobile is housed in a microclimate chamber at 11° Fahrenheit. SFMOMA provides grey fleece blankets for you to cuddle up with as you enter the chamber and discover a concept car you might expect an Icelandic artist to design. There is also a collaged video of Eliasson and his hip-looking staff developing the frozen Beamer. To his credit, Eliasson tends to highlight what’s going on behind the curtain — both in the video and in the fifth floor installations. Prolific as an artist and inventor, Eliasson is obviously very thoughtful about his viewer, ensuring a highly engaging and reflective experience. I recommend letting the elevator deliver you directly into one of the installations, but you may prefer to enter up the stairs and over the bridge, through a myriad of colorful self reflections. Either way, just go. Trust me. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Olafur Eliasson: Take your time\u003c/b> runs through February 24, 2008 at the San Francisco Museum of Modern Art, 151 Third Street in San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>When you think of watercolor, what comes to mind? For me, it’s pastel landscapes. But after ten years of research, curator Mark Johnson and collaborators from San Francisco State University have organized an unusual watercolor exhibit that incorporates video art, urban art, and controversial, mind-bending art. There are several world-famous California artists represented in the show including Wayne Thiebaud, Barry McGee, \u003ca href=\"/arts/people/spark/profile.jsp?id=4828\">\u003cb>Ruth Asawa\u003c/b>\u003c/a>, \u003ca href=\"/arts/people/spark/profile.jsp?id=4696\">\u003cb>Nathan Oliveira\u003c/b>\u003c/a>, \u003ca href=\"/arts/people/spark/profile.jsp?id=4813\">\u003cb>Robert Bechtle\u003c/b>\u003c/a>, David Hockney, and \u003ca href=\"/arts/people/spark/profile.jsp?id=5025\">\u003cb>Li Huayi\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Some of the pieces are several decades old but have never been exhibited publicly, while others were created specifically for the exhibit. Using materials such as gouache, milk, and crayon in combination with political or personal subject matter, the artists (most of whom are not strictly watercolorists) play with a wide range of imagery and materials.\u003c/p>\n\u003cp>Gail Dawson, a professor at SFSU, painted a delicate tornado of houses that hangs alongside a video screen playing an animated version of the painting. Julio César Morales created four drawings that flank a video screen with headphones. The drawings present commentary on illegal immigration and are rather horrifying when you look closely and realize that Morales has rendered a diagram of how to hide your baby inside a stuffed teddy bear. Morales’ video is footage of the fence that borders California and Mexico with a kaleidoscope filter added, creating a pattern that vaguely recalls a serape (a vividly colored traditional Mexican blanket or wrap with bold, angular lines).\u003c/p>\n\u003cp>A piece from Masami Teraoka’s \u003cb>McDonald’s Hamburgers Invading Japan\u003c/b> series is on display (see detail from #3 in above photo) along with a large-scale seascape he painted with watercolor on loose canvas. Another noteworthy duo of paintings was created by Beth Van Hoesen and Mark Adams, a married couple who are master watercolorists. Seeing the two paintings next to one another seemed to provide an odd (yet unverified) glimpse into their relationship — Beth’s painting was a portrait of Mark. Mark’s painting was a portrait of an eggplant. Hmm.\u003c/p>\n\u003cp>Barry McGee, a.k.a. Twist created new works especially for \u003cb>Pacific Light\u003c/b>. The characters in his cluster of framed works are screen-printed with blue and red lines, like images intended to be viewed through 3D glasses. Twist also contributed a mask-like painting of a moustached fellow who looks rather worried (perhaps he’s afraid he’ll get stolen like much of McGee’s early street art). The artist is associated with San Francisco’s Mission School, an arguable term given to a select group of artists who spent time in the Mission District in the ’90s. Another artist considered to be a product of the Mission School is Alicia McCarthy, whose gouache-on-wood painting of intersecting rainbows was also a favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pacific Light\u003c/b> offers a rare opportunity to see a striking collection of works by California’s best-known artists all under one roof. Conscientiously laid out, the exhibit stretches the term watercolor as far as it can go and invites you to revisit the extensive list of influential artists the West Coast has produced. The exhibit will head to Sweden’s Nordic Watercolor Museum on October 20, 2007.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Pacific Light: California Watercolor Refracted 1907-2007\u003c/b> runs September 22 through October 20, 2007 at San Francisco State University’s Fine Arts Gallery.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of watercolor, what comes to mind? For me, it’s pastel landscapes. But after ten years of research, curator Mark Johnson and collaborators from San Francisco State University have organized an unusual watercolor exhibit that incorporates video art, urban art, and controversial, mind-bending art. There are several world-famous California artists represented in the show including Wayne Thiebaud, Barry McGee, \u003ca href=\"/arts/people/spark/profile.jsp?id=4828\">\u003cb>Ruth Asawa\u003c/b>\u003c/a>, \u003ca href=\"/arts/people/spark/profile.jsp?id=4696\">\u003cb>Nathan Oliveira\u003c/b>\u003c/a>, \u003ca href=\"/arts/people/spark/profile.jsp?id=4813\">\u003cb>Robert Bechtle\u003c/b>\u003c/a>, David Hockney, and \u003ca href=\"/arts/people/spark/profile.jsp?id=5025\">\u003cb>Li Huayi\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Some of the pieces are several decades old but have never been exhibited publicly, while others were created specifically for the exhibit. Using materials such as gouache, milk, and crayon in combination with political or personal subject matter, the artists (most of whom are not strictly watercolorists) play with a wide range of imagery and materials.\u003c/p>\n\u003cp>Gail Dawson, a professor at SFSU, painted a delicate tornado of houses that hangs alongside a video screen playing an animated version of the painting. Julio César Morales created four drawings that flank a video screen with headphones. The drawings present commentary on illegal immigration and are rather horrifying when you look closely and realize that Morales has rendered a diagram of how to hide your baby inside a stuffed teddy bear. Morales’ video is footage of the fence that borders California and Mexico with a kaleidoscope filter added, creating a pattern that vaguely recalls a serape (a vividly colored traditional Mexican blanket or wrap with bold, angular lines).\u003c/p>\n\u003cp>A piece from Masami Teraoka’s \u003cb>McDonald’s Hamburgers Invading Japan\u003c/b> series is on display (see detail from #3 in above photo) along with a large-scale seascape he painted with watercolor on loose canvas. Another noteworthy duo of paintings was created by Beth Van Hoesen and Mark Adams, a married couple who are master watercolorists. Seeing the two paintings next to one another seemed to provide an odd (yet unverified) glimpse into their relationship — Beth’s painting was a portrait of Mark. Mark’s painting was a portrait of an eggplant. Hmm.\u003c/p>\n\u003cp>Barry McGee, a.k.a. Twist created new works especially for \u003cb>Pacific Light\u003c/b>. The characters in his cluster of framed works are screen-printed with blue and red lines, like images intended to be viewed through 3D glasses. Twist also contributed a mask-like painting of a moustached fellow who looks rather worried (perhaps he’s afraid he’ll get stolen like much of McGee’s early street art). The artist is associated with San Francisco’s Mission School, an arguable term given to a select group of artists who spent time in the Mission District in the ’90s. Another artist considered to be a product of the Mission School is Alicia McCarthy, whose gouache-on-wood painting of intersecting rainbows was also a favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"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 />",
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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",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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/",
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},
"link": "/radio/program/latino-usa",
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"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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