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"content": "\u003cp>My dictionary’s first entry for the term “hustler” is an enterprising person determined to succeed. White Walls Gallery’s current show, \u003cb>All-Star Hustlaz\u003c/b>, features a smattering of artists who bust their collective ass but have not yet received the recognition they deserve. It’s a sampling of work by genuine hustlers on the treacherous road to artistic success.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=15426\">Adam5100\u003c/a> was one of the artists who drew me to the show. I’d only been inside the gallery a few minutes when I overheard a conversation about his impressive painting technique involving fourteen or fifteen layers of hand-cut stencils. A gallery staff member said “I don’t know why he hasn’t blown up yet,” and I felt that the same sentiment could also be applied to some of the other artists.\u003c/p>\n\u003cp>I recently read a great interview with AJ Fosik in \u003ca href=\"http://www.juxtapoz.com\" target=\"offsite\" rel=\"noopener\">Juxtapoz\u003c/a> and was happy to see some of his art in person. With a past history of graffiti, guerilla public art, and illustration, Fosik creates mixed media works. Many are sculptures of bears complexly formed from colorful wood scraps. Fosik’s work seems to have an acquaintance with history; his images feel simultaneously familiar and foreign. Four of Fosik’s works are on display. The two that stuck in my mind were oddly similar. One was a three-dimensional bust of a pink and green bear, the other a painting on wood panel of a green bear with a mass of pink intestines spilling from his split gut. Though the colors and animal subject were shared, it might be hard to tell that the two pieces were created by the same artist. In the Juxtapoz interview, Fosik mentioned the importance of trying to “do something new every time.” To me, his constantly evolving style and prolificacy were apparent, even in these few samples of his work.\u003c/p>\n\u003cp>It’s my last post of 2007, which means it’s time for a list. Here are my top five (or six) favorite pieces from the show:\u003cbr> Adam5100’s \u003cb>Quinche\u003c/b>, a stenciled painting of an electrical power station.\u003cbr> AJ Fosik’s \u003cb>Bifurcated Bear\u003c/b>\u003cbr> Diet’s \u003cb>Toy Machine\u003c/b>, a friendly pink bubblegum machine filled with tiny golden baseball bats on chains.\u003cbr> Mitsy’s \u003cb>Dos de Tres Caidas\u003c/b>, a precious yet biting mixed media wall piece shaped like a tiny boxing ring. It was decorated with a Pacifico beer label, a furry Sasquatch, and glitter. I freaking love glitter!\u003cbr> Damon Soule’s \u003cb>Cephalopod Stockpiling Solids\u003c/b>, a painting of a transparent jellyfish filled with geometric forms.\u003cbr> Maxwell Loren Holyoke-Hirsch’s \u003cb>Universal Construct\u003c/b>, part of a collection of resin-coated folksy paintings on wood.\u003c/p>\n\u003cp>This is a time of transition, saying goodbye to a seasoned year, and hello to a new one — a time when you say to yourself, “I should (blank) more often.” Right now, make a promise to yourself to fill in that blank. Catching up with some talented artists who’ve flown under your radar this year is a good way to do so. You should go to art shows more often. Start with this one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All-Star Hustlaz runs through January 6, 2008 at White Walls Gallery in San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>Despite what critics may tell you, it’s not necessary to understand a work of art in order to like it. Especially when it comes to abstract painting. This is because Abstraction, which artist Raymond Saunders excels at, is fundamentally rooted in human language. As we know language can be verbal, non-verbal, gestural, purely visual or any combination of what we can detect with our senses.\u003c/p>\n\u003cp>It is also true that good art might not make sense right away. Similarly good art may even grow in profundity or change what it means as it is being contemplated. Good art is a trickster, reemerging in your life like a love song triggered by feelings you might not even know you had.\u003c/p>\n\u003cp>At the Stephen Wirtz Gallery, I observed a solitary young woman standing pensively before one of Raymond Saunders’s abstract and quite enormous, mostly black paintings. As I walked around the place she remained there staring at it trying to decipher the little chalk marks and permanently glued-down collage elements. While I was going around the room, she simply stood in place, becoming a collage element herself.\u003c/p>\n\u003cp>It caused me to consider how the paintings in this show are different from those made by other abstract painters and then I realized that in some respects Raymond Saunders is a poet. The woman standing at one of his works lingered as if she were reading a poem over and over to take in all of its meaning.\u003c/p>\n\u003cp>Saunders’s cryptic, scrawled writing, his references to other notable African Americans, the vast, open blank areas on his surfaces, the emptiness they convey, his collages — all relate to literature or language. Sometimes they refer to painting, sometimes not. But whatever it is they refer to, it is clear that his many motifs, like half-drawn chalk figures, glued-down bits of paper, attached objects, etc, are not randomly placed. Each bit can be traced back to some kind of source — a memory, a moment of experience, a place, a person. These paintings are as much an autobiography as they are anything else.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many works in this show are set on the floor, not hung on the wall, so they can be read as both paintings and sculptures simultaneously. This is as much a poetic gesture as it is a conceptual one, a silent statement of intent that is as fun to try figuring out as the obscured references in the paintings themselves. It might take a while to decode Raymond Saunders’s work, but you’ll be glad you took the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Raymond Saunders’s \u003cb>Pittsburgh\u003c/b> is at the Stephen Wirtz Gallery through December 22, 2007.\u003c/p>\n\n",
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"title": "Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westermann",
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"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>\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": "\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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"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": "\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>\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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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