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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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": "\u003cp>In case you don’t know already, Clare Rojas has grown to be one of the Bay Area’s most prolific and well-known painters. But like other artists in the scene here, Rojas plays music too. Under the pseudonym \u003ca href=\"http://www.myspace.com/honeyfordinner\" target=\"offsite\" rel=\"noopener\">Peggy Honeywell\u003c/a> she has released two CDs of her own bluegrass/country music on the Galaxia label.\u003c/p>\n\u003cp>It comes as no surprise then to see that she has devoted an entire wall of her show at Gallery Paule Anglim to various painted musical instruments. On the surfaces of the banjos and tambourines are quaint little painted figures and geometrical patterns. While the show is fun to look at, some of the paintings appear to mean something and others seem, well, decorative. Along with the instruments are numerous other painted panels and objects. It is quite possible that for Rojas, folk art is a style as much as it is a genre. In these days of post-modernism, when an artist works in a style, it may have little or nothing to do with the genre to which it belongs. For example, it is unlikely that the religiously pious Quaker or \u003ca href=\"http://en.wikipedia.org/wiki/Shakers\" target=\"offsite\" rel=\"noopener\">Shaker\u003c/a> artists (whose work Rojas references stylistically) would have painted a picture of a naked man (Untitled) looking at his own hairy ass in a mirror while videotaping it.\u003c/p>\n\u003cp>But Rojas does allude to the more mystical origins of the primitive style in which she works. For example, there is a painting (Untitled) of a woman whose heart appears to be radiating beams of light or energy towards a tree. The tree has pointy leaves all over it, but some of the leaves are shaped like hearts too. That painting is related to another one (Untitled) in which a red haired woman with wings stands before a huge, flowering plant. On the oversized leaves are two fox-like animals with hair as red as hers. Does it mean anything in particular? Does it matter? Stylistically it resembles the work of untrained visionary and outsider artists. Rojas, however, went to the Rhode Island School of Design and the Art Institute of Chicago.\u003c/p>\n\u003cp>Still, Rojas’ blending of folksy music with a folksy painting style makes a lot of sense. These days art schools are churning out more and more young artists who are big on ideas yet produce very little. Her show at Paule Anglim is a good demonstration of what happens when someone is good at something and sticks with it. Such a work ethic has gotten her exhibitions at the legendary Deitch Projects in New York and a place in the critically acclaimed \u003ca href=\"http://www.beautifullosers.it/\" target=\"offsite\" rel=\"noopener\">Beautiful Losers\u003c/a> show that traveled to several international venues. Rojas’ \u003cb>P.S. Hurray!\u003c/b> is an uncommonly good show and definitely won’t disappoint.\u003c/p>\n\u003cp>\u003cb>P.S. Hurray!\u003c/b> is at Gallery Paule Anglim through September 29, 2007.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Over the past few years Greg Lind has quietly built up a terrific group of San Francisco artists. He has also been known to let them take risks in his gallery space. In the artworld, risk means that a gallery might sometimes show work that is hard to sell because it is good art.\u003c/p>\n\u003cp>Lind’s current show is a group of paintings and installations by Oakland-based artist Chris Duncan. Duncan is known for his rather complex geometrical installations of colored string and his cosmological motifs. For this show he has presented viewers with a decidedly aniconic group of works that are rather \u003ca href=\"http://en.wikipedia.org/wiki/Metaphysics\" target=\"offsite\" rel=\"noopener\">metaphysical\u003c/a> in their nature.\u003c/p>\n\u003cp>His two wall installations, for example, one blue, the other pinkish-red have string radiating out from a central point to their edges. The colored backgrounds have little, painted star-like dots that give the viewer a heads-up that the works are not decorative but instead are addressing some kind of phenomenological moment.\u003c/p>\n\u003cp>Could that moment be the birth, or death of a star? A galactic explosion? The beginning of the universe? Or the end? Well whatever is being expressed — the way it is presented invites wonder and conjecture. Refreshingly, Duncan is not trying to convince us of anything and allows his works to be beautiful without irony.\u003c/p>\n\u003cp>My favorite work hangs discreetly in the back room alcove. It is a kind of pointalistic portrait. Pretty amorphous as portraits go, it is an implied face composed entirely of little colored bits of paint. Mirrored eyes stare out from under the blanket of little colored specks of matter and energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an aside, the band \u003ca href=\"http://www.myspace.com/palehoarse\" target=\"offsite\" rel=\"noopener\">Pale Hoarse\u003c/a>, played at the opening. Artist/musician Kyle Ranson and local ingénue Kim Pierce are a great duo whose simple, haunting ballads always create a hush in crowded rooms. Their performance was a perfect counterpoint to Duncan’s show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Beginning. The Middle. The End.\u003c/b> is at Gregory Lind Gallery through October 13, 2007.\u003c/p>\n\n",
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"title": "Yoshitoshi's Strange Tales: Woodblock Prints from Edo to Meiji",
"headTitle": "Yoshitoshi’s Strange Tales: Woodblock Prints from Edo to Meiji | KQED",
"content": "\u003cp>In 1863, the fourteenth Tokugawa Shogun, \u003ca href=\"http://en.wikipedia.org/wiki/Tokugawa_Iemochi\" target=\"offsite\" rel=\"noopener\">Tokugawa Iemochi (1846-1866)\u003c/a>, traveled from Edo (modern Tokyo) to Kyoto for an audience with the Japanese Emperor. \u003ca href=\"http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/about.html\" target=\"offsite\" rel=\"noopener\">Taiso Yoshitoshi\u003c/a> (1839-1892), an Edo-based printmaker, illustrated Iemochi’s journey in his print, \u003cb>Kanasugi Bridge at Shibaura\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Kanasugi Bridge at Shibaura\u003c/b> is one of a hundred prints included in the Asian Art Museum’s exhibition, \u003ca href=\"http://www.asianart.org/yoshitoshi.htm\" target=\"offsite\" rel=\"noopener\">Yoshitoshi’s Strange Tales: Woodblock Prints from Edo to Meiji\u003c/a> (May 26 to September 2, 2007). The exhibition’s curator, John Stevenson, characterized the artist as a liminal figure, poised between Edo and Meiji sensibilities. The prints included in this exhibit illustrate for Stevenson, “a traditional culture moving at breakneck speed into the modern world.”\u003c/p>\n\u003cp>Yoshitoshi was born in Edo in 1839 to a wealthy merchant who had bought his way into the samurai class. Yoshitoshi apprenticed with the printmaker \u003ca href=\"http://spectacle.berkeley.edu/~fiorillo/texts/ukiyoetexts/ukiyoe_pages/kuniyoshi3.html\" target=\"offsite\" rel=\"noopener\">Utagawa Kuniyoshi\u003c/a> (1797-1861). Due to government censorship, both printmakers often employed ghost stories and folklore as allegories for contemporary events and as a platform for political commentary.\u003c/p>\n\u003cp>Many of Yoshitoshi’s most memorable prints explore the tensions that marked late-nineteenth-century Japanese society. One scholar has described Yoshitoshi’s work as “violence made vivid.” However, as the artist matured, he developed a gift for capturing tension, or what Henri Cartier-Bresson has called “the decisive moment.” During the 1860s and 70s, Yoshitoshi frequently created newspaper illustrations, and his version of \u003cb>Kanasugi Bridge at Shibaura\u003c/b>, though included in his \u003cb>Tokaido Highway\u003c/b> series, may have began as a newspaper assignment.\u003c/p>\n\u003cp>Yoshitoshi’s audiences would have recognized his \u003cb>Kanasugi Bridge at Shibaura\u003c/b> as a reworking of a famous \u003ca href=\"http://www.brooklynmuseum.org/exhibitions/online/edo/hiroshige/\" target=\"offsite\" rel=\"noopener\">Ando Hiroshige\u003c/a> print from 1857 bearing the same title. Yoshitoshi has carefully preserved \u003ca href=\"http://www.brooklynmuseum.org/exhibitions/online/edo/detail.php?view=toc.80\" target=\"offsite\" rel=\"noopener\">Hiroshige’s composition\u003c/a>, almost point-for-point. In Yoshitoshi’s print, however, the fisherman is transformed from a bystander (oaring his boat, oblivious to the procession crossing the bridge) to a witness (alert, captivated by the events unfolding before him).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hiroshige’s\u003cb> Kanasugi Bridge and Shibaura\u003c/b> depicts a pilgrimage dating to the thirteenth century. Each year, thousands of followers of the Buddhist sage Nichiren made the eight mile trek from Edo to Honmonji to commemorate Nichiren’s death. Hiroshige’s print seethes with activity, as banners and flags flutter in the wind. Festive reds, yellows, and purples dominate the foreground.\u003c/p>\n\u003cp>Yoshitoshi’s print, in contrast, is markedly static. The mood is decidedly sober. While Hiroshige arranged his banners and poles at rakish angles, creating strong diagonals throughout the print, Yoshitoshi’s samurai carry their banners with discipline. The samurai, unlike the pilgrims, walk in neatly ordered rows. The men’s uniforms are neat and sharp, their postures tense. Only the horse betrays any liveliness, high-stepping between the columns. The horseman heralds the shogun. Yoshitoshi has reworked Hiroshige’s print so that things are not in their right place.\u003c/p>\n\u003cp>According to tradition, the shogun does not move. Others come to him. For centuries, the daimyo, or lords, traveled to Edo to pay court to the shogun. Twice a year, daimyo from all over Japan crossed the bridge at Shibaura. These processions were said to number into the tens of thousands, all traveling under the daimyo’s standard. This time, however, the men belong to the shogun, and they are traveling south. The old order has been torn asunder.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yoshitoshi’s choice to base his image of the shogun’s journey on Hiroshige’s earlier masterpiece gives the moment a poignancy and a pathos that underscores the event’s magnitude. His decision to merge the shogun’s journey with Hiroshige’s lucid depiction of Edo, Japan displays Yoshitoshi’s identification with the shogun’s vanishing order. The print, so elegiac and still, memorializes Edo \u003ci>as it was\u003c/i>, as it ought to be, as it never will be again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1863, the fourteenth Tokugawa Shogun, \u003ca href=\"http://en.wikipedia.org/wiki/Tokugawa_Iemochi\" target=\"offsite\" rel=\"noopener\">Tokugawa Iemochi (1846-1866)\u003c/a>, traveled from Edo (modern Tokyo) to Kyoto for an audience with the Japanese Emperor. \u003ca href=\"http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/about.html\" target=\"offsite\" rel=\"noopener\">Taiso Yoshitoshi\u003c/a> (1839-1892), an Edo-based printmaker, illustrated Iemochi’s journey in his print, \u003cb>Kanasugi Bridge at Shibaura\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Kanasugi Bridge at Shibaura\u003c/b> is one of a hundred prints included in the Asian Art Museum’s exhibition, \u003ca href=\"http://www.asianart.org/yoshitoshi.htm\" target=\"offsite\" rel=\"noopener\">Yoshitoshi’s Strange Tales: Woodblock Prints from Edo to Meiji\u003c/a> (May 26 to September 2, 2007). The exhibition’s curator, John Stevenson, characterized the artist as a liminal figure, poised between Edo and Meiji sensibilities. The prints included in this exhibit illustrate for Stevenson, “a traditional culture moving at breakneck speed into the modern world.”\u003c/p>\n\u003cp>Yoshitoshi was born in Edo in 1839 to a wealthy merchant who had bought his way into the samurai class. Yoshitoshi apprenticed with the printmaker \u003ca href=\"http://spectacle.berkeley.edu/~fiorillo/texts/ukiyoetexts/ukiyoe_pages/kuniyoshi3.html\" target=\"offsite\" rel=\"noopener\">Utagawa Kuniyoshi\u003c/a> (1797-1861). Due to government censorship, both printmakers often employed ghost stories and folklore as allegories for contemporary events and as a platform for political commentary.\u003c/p>\n\u003cp>Many of Yoshitoshi’s most memorable prints explore the tensions that marked late-nineteenth-century Japanese society. One scholar has described Yoshitoshi’s work as “violence made vivid.” However, as the artist matured, he developed a gift for capturing tension, or what Henri Cartier-Bresson has called “the decisive moment.” During the 1860s and 70s, Yoshitoshi frequently created newspaper illustrations, and his version of \u003cb>Kanasugi Bridge at Shibaura\u003c/b>, though included in his \u003cb>Tokaido Highway\u003c/b> series, may have began as a newspaper assignment.\u003c/p>\n\u003cp>Yoshitoshi’s audiences would have recognized his \u003cb>Kanasugi Bridge at Shibaura\u003c/b> as a reworking of a famous \u003ca href=\"http://www.brooklynmuseum.org/exhibitions/online/edo/hiroshige/\" target=\"offsite\" rel=\"noopener\">Ando Hiroshige\u003c/a> print from 1857 bearing the same title. Yoshitoshi has carefully preserved \u003ca href=\"http://www.brooklynmuseum.org/exhibitions/online/edo/detail.php?view=toc.80\" target=\"offsite\" rel=\"noopener\">Hiroshige’s composition\u003c/a>, almost point-for-point. In Yoshitoshi’s print, however, the fisherman is transformed from a bystander (oaring his boat, oblivious to the procession crossing the bridge) to a witness (alert, captivated by the events unfolding before him).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hiroshige’s\u003cb> Kanasugi Bridge and Shibaura\u003c/b> depicts a pilgrimage dating to the thirteenth century. Each year, thousands of followers of the Buddhist sage Nichiren made the eight mile trek from Edo to Honmonji to commemorate Nichiren’s death. Hiroshige’s print seethes with activity, as banners and flags flutter in the wind. Festive reds, yellows, and purples dominate the foreground.\u003c/p>\n\u003cp>Yoshitoshi’s print, in contrast, is markedly static. The mood is decidedly sober. While Hiroshige arranged his banners and poles at rakish angles, creating strong diagonals throughout the print, Yoshitoshi’s samurai carry their banners with discipline. The samurai, unlike the pilgrims, walk in neatly ordered rows. The men’s uniforms are neat and sharp, their postures tense. Only the horse betrays any liveliness, high-stepping between the columns. The horseman heralds the shogun. Yoshitoshi has reworked Hiroshige’s print so that things are not in their right place.\u003c/p>\n\u003cp>According to tradition, the shogun does not move. Others come to him. For centuries, the daimyo, or lords, traveled to Edo to pay court to the shogun. Twice a year, daimyo from all over Japan crossed the bridge at Shibaura. These processions were said to number into the tens of thousands, all traveling under the daimyo’s standard. This time, however, the men belong to the shogun, and they are traveling south. The old order has been torn asunder.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yoshitoshi’s choice to base his image of the shogun’s journey on Hiroshige’s earlier masterpiece gives the moment a poignancy and a pathos that underscores the event’s magnitude. His decision to merge the shogun’s journey with Hiroshige’s lucid depiction of Edo, Japan displays Yoshitoshi’s identification with the shogun’s vanishing order. The print, so elegiac and still, memorializes Edo \u003ci>as it was\u003c/i>, as it ought to be, as it never will be again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "52nd Venice Biennale (Part Two)",
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"content": "\u003cp>For most residents of Europe and North America, the nineteenth century has become a hazy memory. The colonial wars that devastated large swaths of Africa and drained European treasuries have now become romanticized, the terror and violence aestheticized à la Isak Dinesen’s \u003cb>Out of Africa\u003c/b> (albeit the Hollywood version, complete with teak camp chairs and billowing white muslin dresses). A quick survey of \u003cb>Check List Luanda Pop\u003c/b> at the 52nd Venice Biennale, however, brings the recent past back in visceral ways. For those living in the Third World, the nineteenth century remains close. (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=18020\">See Part One of this post\u003c/a>.)\u003c/p>\n\u003cp>In contrast, the major First World players seemed intent upon eliding history. The American, British, and French pavilions featured artists — \u003ca href=\"http://www.sophiecalle.net/\" target=\"offsite\" rel=\"noopener\">Sophie Calle\u003c/a>, \u003ca href=\"http://www.guardian.co.uk/arts/gallery/2007/jun/07/emin?picture=329989763\" target=\"offsite\" rel=\"noopener\">Tracey Emin\u003c/a>, and \u003ca href=\"http://www.queerculturalcenter.org/Pages/FelixGT/FelixIndex.html\" target=\"offsite\" rel=\"noopener\">Felix Gonzalez-Torres\u003c/a> — whose oeuvres are largely lyric in nature. For each of these artists, art rises from personal experience. The curators of these pavilions have refused to truly engage history on any meaningful level, choosing instead to go the formal and lyric route, because that route cleaves closest to safety.\u003c/p>\n\u003cp>Gonzalez-Torres was, in many ways, a bold choice. Gonzalez-Torres was openly gay, and several of the pieces in the American pavilion were created after Gonzalez-Torres’s lover died from AIDS-related complications. In the late 1980s and early ’90s, when Gonzalez-Torres first began exhibiting his “endless stacks” and candy pieces, the work was considered highly subversive, even aggressive. (One of Gonzalez-Torres’s candy pieces, a memorial to his lover, invites viewers to taste his vanished lover’s sweetness.) Almost fifteen years have passed between Gonzalez-Torres’s death (in 1994) and the 52nd Biennale. In those intervening years, Gonzalez-Torres entered the American canon. The work was powerful then partly because it crossed so many lines, because it introduced an interiority, and an experience, still taboo in mainstream America.\u003c/p>\n\u003cp>Yet the viewer feels little of this in the American pavilion. There, the Gonzalez-Torres installation largely feels formal. Nancy Spector (of the Guggenheim Museum in New York City) mounted an elegant installation of the artist’s work. There are a few “political” works, such as Gonzalez-Torres’s “endless stack” of offset prints reading “Veteran’s Day Sale,” or \u003cb>Untitled (Public Opinion, or Everybody has One)\u003c/b>, a candy piece featuring cellophane-wrapped licorice candies. There are also a number of abstract pieces, such as Gonzalez-Torres’s light-bulb sculptures, that read — in the American pavilion’s elegant context — as beautiful and “bourgeois.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-5.jpg\" border=\"0\" style=\"float:right;margin-left: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Consider \u003ca href=\"http://www.ndmoa.com/PastEx/Disappeared/OscarMunoz/index.html\" target=\"offsite\" rel=\"noopener\">Oscar Muñoz’s\u003c/a> video installation \u003cb>Proyecto de Memorial (Memorial Project)\u003c/b> (2004-2005), as a foil to Gonzalez-Torre’s lyric engagement. Muñoz filmed himself painting the faces of those who “disappeared” during Colombia’s drug wars. We see the artist’s fingers, grasping a paintbrush. Our focus remains directed towards the individual faces. Absorbed by the act of painting, we watch each face flesh out and develop into an individual. Muñoz paints these miniature portraits with water, on grey stone. The images evaporate within seconds, leaving behind a piece of blank stone. Savvy viewers with a long memory might recall the United States’ messy involvement in Colombia and several other Latin American countries. Muñoz tells a story that has largely been suppressed. He chooses not grief’s private language, but memorial’s public idiom.\u003c/p>\n\u003cp>Like lyric poetry, the works in the French and British pavilions represent formal (and aestheticized) iterations of subjective (and often deeply private) experiences. I found it surprising to walk into the British pavilion and find Tracey Emin’s erotic sketches. The experience is a bit like walking into an alternate universe where Sappho, and not Homer, is considered the “poet laureate” of ancient Greece. And yet it lacks some of the frisson and subversion implicit in that comment, for I do not believe that the choice to exhibit Emin came from a desire to subvert history in order to give us herstory. The personal is very often the political. In Gonzalez-Torres’s case, the personal is very, very political. Yet Gonzalez-Torres’s works are swamped by his fellow artists’ relentless focus on selfhood and subjectivity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-6.jpg\" border=\"0\" style=\"float:left;margin-right: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>Rather, Tracey Emin and Sophie Calle take us back to bourgeois comfort, for the bourgeois world remains the kernel of these artists’ obsessions. Both Emin and Calle interrogate the rules, procedures, and languages that structure this world. Their installations, with their focus upon eroticism and desire (Emin’s installation features a series of erotic sketches, Calle’s installation takes a lover’s break-up letter as its point of departure), remain bound up in the bourgeois realm of pleasure and consumption.\u003c/p>\n\u003cp>There is, of course, a time and a place for such works, just as there is a time and a place for Sappho and for Homer. But next to those works that do reach out and address history, these works, with their myopic focus upon private transgressions and personal moments, read to me as “thin.” Each set of works (which we might crassly divide into the “private” and the “public,” those concerned with the nation, versus those concerned with the individual) takes up a very different type of discourse.\u003c/p>\n\u003cp>The structure of the Venice Biennale calls upon each pavilion to generate a national identity. It asks the artist to represent a nation. The art that goes on these walls, despite the artist’s best efforts, will be read in terms of the “nation.” Viewers expect these works to take part in national mythologies. Here, art comes to be identified with a collective (a society, a place, a nation). There is a sense that art is part and parcel of a broader community, and that cultural production should bear some responsibility for that community.\u003c/p>\n\u003cp>Perhaps the developed nations no longer feel the same urgency. For the developing nations, the stakes seem so much higher. The Biennale is a chance to fabricate a myth, to put up a front. It is an arena for new nations to try out identities and tell stories — in other words, it is a chance for new nations to play at power and agency, to take on things that developed nations already take for granted. The developed nations seem to turn away from history, while the emerging nations reach out to seize history with both hands. For the emerging nations, the old histories — the old concept of the nation and its attendant myths — have not yet lost their force.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this context, the refusal to engage history raises a host of other questions. Why do curators choose to turn inwards and engage the private subject at this moment? What are we trying to evade? Why the lacuna? Why this silence? By circling in domesticity’s waters, the curators of the French and British pavilions avoid making overt political statements on behalf of their nations, but they also (perhaps inadvertently) give off an image of callousness and irresponsibility. They seem uninterested (or unwilling) to take part in the Biennale’s larger conversation.\u003c/p>\n\n",
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"excerpt": "For most residents of Europe and North America, the nineteenth century has become a hazy memory. The colonial wars that devastated large swaths of Africa and drained European treasuries have now become romanticized, the terror and violence aestheticized à la Isak Dinesen's \u003cb>Out of Africa\u003c/b> (albeit the Hollywood version, complete with teak camp chairs and billowing white muslin dresses). A quick survey of \u003cb>Check List Luanda Pop\u003c/b> at the 52nd Venice Biennale, however, brings the recent past back in visceral ways. For those living in the Third World, the nineteenth century remains close. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most residents of Europe and North America, the nineteenth century has become a hazy memory. The colonial wars that devastated large swaths of Africa and drained European treasuries have now become romanticized, the terror and violence aestheticized à la Isak Dinesen’s \u003cb>Out of Africa\u003c/b> (albeit the Hollywood version, complete with teak camp chairs and billowing white muslin dresses). A quick survey of \u003cb>Check List Luanda Pop\u003c/b> at the 52nd Venice Biennale, however, brings the recent past back in visceral ways. For those living in the Third World, the nineteenth century remains close. (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=18020\">See Part One of this post\u003c/a>.)\u003c/p>\n\u003cp>In contrast, the major First World players seemed intent upon eliding history. The American, British, and French pavilions featured artists — \u003ca href=\"http://www.sophiecalle.net/\" target=\"offsite\" rel=\"noopener\">Sophie Calle\u003c/a>, \u003ca href=\"http://www.guardian.co.uk/arts/gallery/2007/jun/07/emin?picture=329989763\" target=\"offsite\" rel=\"noopener\">Tracey Emin\u003c/a>, and \u003ca href=\"http://www.queerculturalcenter.org/Pages/FelixGT/FelixIndex.html\" target=\"offsite\" rel=\"noopener\">Felix Gonzalez-Torres\u003c/a> — whose oeuvres are largely lyric in nature. For each of these artists, art rises from personal experience. The curators of these pavilions have refused to truly engage history on any meaningful level, choosing instead to go the formal and lyric route, because that route cleaves closest to safety.\u003c/p>\n\u003cp>Gonzalez-Torres was, in many ways, a bold choice. Gonzalez-Torres was openly gay, and several of the pieces in the American pavilion were created after Gonzalez-Torres’s lover died from AIDS-related complications. In the late 1980s and early ’90s, when Gonzalez-Torres first began exhibiting his “endless stacks” and candy pieces, the work was considered highly subversive, even aggressive. (One of Gonzalez-Torres’s candy pieces, a memorial to his lover, invites viewers to taste his vanished lover’s sweetness.) Almost fifteen years have passed between Gonzalez-Torres’s death (in 1994) and the 52nd Biennale. In those intervening years, Gonzalez-Torres entered the American canon. The work was powerful then partly because it crossed so many lines, because it introduced an interiority, and an experience, still taboo in mainstream America.\u003c/p>\n\u003cp>Yet the viewer feels little of this in the American pavilion. There, the Gonzalez-Torres installation largely feels formal. Nancy Spector (of the Guggenheim Museum in New York City) mounted an elegant installation of the artist’s work. There are a few “political” works, such as Gonzalez-Torres’s “endless stack” of offset prints reading “Veteran’s Day Sale,” or \u003cb>Untitled (Public Opinion, or Everybody has One)\u003c/b>, a candy piece featuring cellophane-wrapped licorice candies. There are also a number of abstract pieces, such as Gonzalez-Torres’s light-bulb sculptures, that read — in the American pavilion’s elegant context — as beautiful and “bourgeois.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-5.jpg\" border=\"0\" style=\"float:right;margin-left: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider \u003ca href=\"http://www.ndmoa.com/PastEx/Disappeared/OscarMunoz/index.html\" target=\"offsite\" rel=\"noopener\">Oscar Muñoz’s\u003c/a> video installation \u003cb>Proyecto de Memorial (Memorial Project)\u003c/b> (2004-2005), as a foil to Gonzalez-Torre’s lyric engagement. Muñoz filmed himself painting the faces of those who “disappeared” during Colombia’s drug wars. We see the artist’s fingers, grasping a paintbrush. Our focus remains directed towards the individual faces. Absorbed by the act of painting, we watch each face flesh out and develop into an individual. Muñoz paints these miniature portraits with water, on grey stone. The images evaporate within seconds, leaving behind a piece of blank stone. Savvy viewers with a long memory might recall the United States’ messy involvement in Colombia and several other Latin American countries. Muñoz tells a story that has largely been suppressed. He chooses not grief’s private language, but memorial’s public idiom.\u003c/p>\n\u003cp>Like lyric poetry, the works in the French and British pavilions represent formal (and aestheticized) iterations of subjective (and often deeply private) experiences. I found it surprising to walk into the British pavilion and find Tracey Emin’s erotic sketches. The experience is a bit like walking into an alternate universe where Sappho, and not Homer, is considered the “poet laureate” of ancient Greece. And yet it lacks some of the frisson and subversion implicit in that comment, for I do not believe that the choice to exhibit Emin came from a desire to subvert history in order to give us herstory. The personal is very often the political. In Gonzalez-Torres’s case, the personal is very, very political. Yet Gonzalez-Torres’s works are swamped by his fellow artists’ relentless focus on selfhood and subjectivity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-6.jpg\" border=\"0\" style=\"float:left;margin-right: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>Rather, Tracey Emin and Sophie Calle take us back to bourgeois comfort, for the bourgeois world remains the kernel of these artists’ obsessions. Both Emin and Calle interrogate the rules, procedures, and languages that structure this world. Their installations, with their focus upon eroticism and desire (Emin’s installation features a series of erotic sketches, Calle’s installation takes a lover’s break-up letter as its point of departure), remain bound up in the bourgeois realm of pleasure and consumption.\u003c/p>\n\u003cp>There is, of course, a time and a place for such works, just as there is a time and a place for Sappho and for Homer. But next to those works that do reach out and address history, these works, with their myopic focus upon private transgressions and personal moments, read to me as “thin.” Each set of works (which we might crassly divide into the “private” and the “public,” those concerned with the nation, versus those concerned with the individual) takes up a very different type of discourse.\u003c/p>\n\u003cp>The structure of the Venice Biennale calls upon each pavilion to generate a national identity. It asks the artist to represent a nation. The art that goes on these walls, despite the artist’s best efforts, will be read in terms of the “nation.” Viewers expect these works to take part in national mythologies. Here, art comes to be identified with a collective (a society, a place, a nation). There is a sense that art is part and parcel of a broader community, and that cultural production should bear some responsibility for that community.\u003c/p>\n\u003cp>Perhaps the developed nations no longer feel the same urgency. For the developing nations, the stakes seem so much higher. The Biennale is a chance to fabricate a myth, to put up a front. It is an arena for new nations to try out identities and tell stories — in other words, it is a chance for new nations to play at power and agency, to take on things that developed nations already take for granted. The developed nations seem to turn away from history, while the emerging nations reach out to seize history with both hands. For the emerging nations, the old histories — the old concept of the nation and its attendant myths — have not yet lost their force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this context, the refusal to engage history raises a host of other questions. Why do curators choose to turn inwards and engage the private subject at this moment? What are we trying to evade? Why the lacuna? Why this silence? By circling in domesticity’s waters, the curators of the French and British pavilions avoid making overt political statements on behalf of their nations, but they also (perhaps inadvertently) give off an image of callousness and irresponsibility. They seem uninterested (or unwilling) to take part in the Biennale’s larger conversation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "52nd Venice Biennale (Part One)",
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"content": "\u003cp>I have come to Venice for \u003ca href=\"http://www.labiennale.org/en/art/exhibition/en/76530.html\" target=\"offsite\" rel=\"noopener\">The Venice Biennale: the 52nd International Art Exhibition\u003c/a>. Since 1895, Venice has hosted an international contemporary art exposition. Every two years, the city transforms itself into a playground for contemporary art enthusiasts.\u003c/p>\n\u003cp>Today, the Venice Biennale has expanded beyond its original site in the Giardini (the public gardens in Castello) to include the Arsenale (where Venice used to build her warships), as well as a host of smaller venues (mostly deconsecrated churches and private palazzi) across the city. The event has grown large enough to warrant multiple maps and guides. And because Venice remains a medieval city without a rational system of streets and addresses, one must expect to sacrifice a portion of each day to aimless wandering. Even with a good map, Venice is difficult to navigate. Turn a corner, and the city shifts.\u003c/p>\n\u003cp>This year, the Biennale runs from June 10 to November 21, 2007. It is a massive, sprawling event with no clear center. Although one can name a host of theoretical reasons for a decentralized international exhibition, I suspect that the Biennale resists the compulsion to build around a clear center or focus for political reasons. In the end, it is politically expedient to encourage sprawl over focus.\u003c/p>\n\u003cp>Directed by \u003ca href=\"http://en.wikipedia.org/wiki/Robert_Storr\" target=\"offsite\" rel=\"noopener\">Robert Storr\u003c/a>, the 52nd Biennale carries the theme “Think with the Senses, Feel with the Mind: Art in the Present Tense.” For many years, Storr was a curator at the Museum of Modern Art in New York, and his museum background comes through. The show is quiet, more contemplative than active. Michael Kimmelman, an art critic for the \u003ci>New York Times\u003c/i>, described the show as “subtle and sober…[and] maybe just a little boring.”\u003c/p>\n\u003cp>Storr’s group show (housed in the Arsenale and in the Italian pavilion) displays a tighter structure than previous editions, and he draws extensively upon older artists, and older works. Storr strongly believes that the past forms the present. He hopes the juxtaposition of old and new works will allow viewers to gain an understanding of the various relationships between different eras.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an interview with \u003ci>Artforum\u003c/i>, Storr described his focus on sensuality as a reaction to the anti-aesthetic current in contemporary art. (Perhaps Storr has been reading Kant’s \u003cb>Critique of Judgment\u003c/b>?) Defending his position, Storr comments, “The sensual world is not necessarily a beautiful world, and pleasuring the public has never been a requirement of modern art. Sensing doesn’t always mean enjoying.”\u003c/p>\n\u003cp>Storr’s group show has been described as quite “political” in tone, and as a show with a “postcolonial” thesis. The group show certainly includes a number of works documenting contemporary geopolitical conflict. While setting up the show, Storr notes that he became particularly interested in “the way artists respond to violence, cultural violence, physical violence” as well as “the way they respond to… these questions of nationality and the fact that nationality doesn’t say very much about most people.” For Storr, the question of “nationhood” and “nationality” seem particularly trenchant today, when so many nations have buckled beneath civil war and ethnic strife. Storr notes, “We have a nationality that is imposed as a political structure…but…[it] is not written in the land.”\u003c/p>\n\u003cp>At a Venice Biennale marked by “firsts,” history was on every mind, with old Europe trying to escape it and the emerging nations trying to claim it. This year marked the first year that the event included Lebanon, Turkey and Mexico. It was also the first year that the event included an entire pavilion dedicated to Sub-Saharan Africa, and the first time that the event directed by an American. These firsts played against the Venice Biennale’s 110-year history, and against the city’s own storied past.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-2.jpg\" border=\"0\" style=\"float: right;margin-left: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>The Biennale renders the old colonial relations in brick-and-mortar, juxtaposing nineteenth-century colonial powers with their former colonies. This physical proximity brings about a confrontation between these nations and their histories. Though the event is purportedly an exhibition of contemporary art (or, as Storr put it, for “art in the present tense”), a showcase for today’s most interesting work, we never stray far from history.\u003c/p>\n\u003cp>My fellow observers described the 52nd edition of the Venice Biennale as particularly \u003ca href=\"http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/movement?id=576\" target=\"offsite\" rel=\"noopener\"> “postcolonial”\u003c/a> in flavor. Depending on the speaker, this comment cut both ways. For some, this year’s Biennale placed too much emphasis on the past. Storr chose to include a record number of established artists in the Arsenale’s group show. His decision to look backwards incurred criticism from curators and critics searching for the Next Big Thing. For others, “postcolonialism” denotes a position already passé and irrelevant, too Eighties, too bound up in that decade’s debates.\u003c/p>\n\u003cp>For many, this year’s Biennale is a “postcolonial” affair because it is unusually inclusive. And indeed, many of the former colonies chose to display works addressing their colonial past. The Australian artist \u003ca href=\"http://www.australiavenicebiennale.com.au/content/view/13/39/lang,en/\" target=\"offsite\" rel=\"noopener\">Susan Norrie\u003c/a> contributed a haunting video installation documenting the environmental devastation wrought by Western mining concerns in rural Indonesia. In the Giardini, Brazilian children, as part of the \u003ca href=\"http://daddytypes.com/2007/06/15/the_morrinho_project_my_first_favela_playset.php\" target=\"offsite\" rel=\"noopener\">Morrinho project\u003c/a>, built miniature models of favelas out of red clay. \u003ca href=\"http://renaissancesociety.org/site/Exhibitions/Essay.41.0.0.0.0.html\" target=\"offsite\" rel=\"noopener\">Willie Doherty\u003c/a> presented “Ghost Stories” (2007), an allegory of Northern Ireland’s recent civil wars.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-3.jpg\" border=\"0\" style=\"float: left;margin-right: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>Consider the British-Nigerian artist,\u003ca href=\"http://www.tate.org.uk/britain/turnerprize/2004/shonibare.shtm\" target=\"offsite\" rel=\"noopener\">Yinka Shonibare’s\u003c/a> “How to Blow Up Two Heads at Once” (2006), a sculpture featuring a pair of dueling figures clad in tail-coats and breeches. The headless figures point old-fashioned pistols at each other. Shonibare’s figures are dressed, not in European cottons and wools, but in brightly patterned batik fabric. The figures are terrifically aesthetic (one can almost imagine these designs on a Parisian runway, with their magpie colors and aggressive patterns), and yet strangely disturbing, even melancholy. The figures engage African history on multiple levels, at once an indictment of the European gamesmanship that divided Africa in the nineteenth century, and a troubling allegory of the ethnic strife that continues to divide Africa today.\u003c/p>\n\u003cp>Shonibare’s sculpture grapples with African identity. How, Shonibare asks, do we build a nation under these conditions? Are African nations simply European constructs dressed in native garb, or can Africans make something more of their situation, build something functional? Do “foreign” structures remain forever foreign? Although Shonibare’s image (two headless figures dueling with pistols) is undeniably comic, it elicits a dark humor. In the African context, the nineteenth-century’s violence still sits too close to the skin.\u003c/p>\n\u003cp>For Congolese businessman Sindika Dokolo, the collector behind \u003ca href=\"http://edition.cnn.com/2007/WORLD/africa/06/04/venice.biennale/index.html\" target=\"offsite\" rel=\"noopener\">Check List Luanda Pop\u003c/a>, an exhibition dedicated to contemporary African art, the production and display of art in a postcolonial context is inextricably linked to colonialism’s legacy of underdevelopment.\u003c/p>\n\u003cp>Contemporary African art, Dokolo notes, “is not very African… we are not in control of our own cultural domain and this has had an impact on the content of our artistic production.” Dokolo describes contemporary African art as a conflicted practice, marked by the tension between a tendency towards producing objects imbued with “second-rate exoticism” for the Western market, and a need to produce art that is truly rooted in the African context.\u003c/p>\n\u003cp>Yet that context, at least in today’s climate, is nearly nonexistent. Like so many postcolonial nations, Angola (where Dokolo is based) does not have the infrastructure, or the funds, to nurture contemporary culture. Today, as yesterday, capital (cultural and otherwise) continues to flow north, away from Africa, or Latin America, or Oceania, or Southeast Asia.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=18361\">See Part Two\u003c/a> of Cynthia Houng’s Venice Biennale post.\u003c/p>\n\n",
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"excerpt": "I have come to Venice for \u003ca href=\"http://www.labiennale.org/en/art/exhibition/en/76530.html\" target=\"offsite\" rel=\"noopener\">The Venice Biennale: the 52nd International Art Exhibition\u003c/a>. Since 1895, Venice has hosted an international contemporary art exposition. Every two years, the city transforms itself into a playground for contemporary art enthusiasts. \u003cp>Today, the Venice Biennale has expanded beyond its original site in the Giardini (the public gardens in Castello) to include the Arsenale (where Venice used to build her warships), as well as a host of smaller venues (mostly deconsecrated churches and private palazzi) across the city. The event has grown large enough to warrant multiple maps and guides. And because Venice remains a medieval city without a rational system of streets and addresses, one must expect to sacrifice a portion of each day to aimless wandering. Even with a good map, Venice is difficult to navigate. Turn a corner, and the city shifts.\u003c/p>",
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"description": "I have come to Venice for The Venice Biennale: the 52nd International Art Exhibition. Since 1895, Venice has hosted an international contemporary art exposition. Every two years, the city transforms itself into a playground for contemporary art enthusiasts. Today, the Venice Biennale has expanded beyond its original site in the Giardini (the public gardens in Castello) to include the Arsenale (where Venice used to build her warships), as well as a host of smaller venues (mostly deconsecrated churches and private palazzi) across the city. The event has grown large enough to warrant multiple maps and guides. And because Venice remains a medieval city without a rational system of streets and addresses, one must expect to sacrifice a portion of each day to aimless wandering. Even with a good map, Venice is difficult to navigate. Turn a corner, and the city shifts.",
"title": "52nd Venice Biennale (Part One) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have come to Venice for \u003ca href=\"http://www.labiennale.org/en/art/exhibition/en/76530.html\" target=\"offsite\" rel=\"noopener\">The Venice Biennale: the 52nd International Art Exhibition\u003c/a>. Since 1895, Venice has hosted an international contemporary art exposition. Every two years, the city transforms itself into a playground for contemporary art enthusiasts.\u003c/p>\n\u003cp>Today, the Venice Biennale has expanded beyond its original site in the Giardini (the public gardens in Castello) to include the Arsenale (where Venice used to build her warships), as well as a host of smaller venues (mostly deconsecrated churches and private palazzi) across the city. The event has grown large enough to warrant multiple maps and guides. And because Venice remains a medieval city without a rational system of streets and addresses, one must expect to sacrifice a portion of each day to aimless wandering. Even with a good map, Venice is difficult to navigate. Turn a corner, and the city shifts.\u003c/p>\n\u003cp>This year, the Biennale runs from June 10 to November 21, 2007. It is a massive, sprawling event with no clear center. Although one can name a host of theoretical reasons for a decentralized international exhibition, I suspect that the Biennale resists the compulsion to build around a clear center or focus for political reasons. In the end, it is politically expedient to encourage sprawl over focus.\u003c/p>\n\u003cp>Directed by \u003ca href=\"http://en.wikipedia.org/wiki/Robert_Storr\" target=\"offsite\" rel=\"noopener\">Robert Storr\u003c/a>, the 52nd Biennale carries the theme “Think with the Senses, Feel with the Mind: Art in the Present Tense.” For many years, Storr was a curator at the Museum of Modern Art in New York, and his museum background comes through. The show is quiet, more contemplative than active. Michael Kimmelman, an art critic for the \u003ci>New York Times\u003c/i>, described the show as “subtle and sober…[and] maybe just a little boring.”\u003c/p>\n\u003cp>Storr’s group show (housed in the Arsenale and in the Italian pavilion) displays a tighter structure than previous editions, and he draws extensively upon older artists, and older works. Storr strongly believes that the past forms the present. He hopes the juxtaposition of old and new works will allow viewers to gain an understanding of the various relationships between different eras.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an interview with \u003ci>Artforum\u003c/i>, Storr described his focus on sensuality as a reaction to the anti-aesthetic current in contemporary art. (Perhaps Storr has been reading Kant’s \u003cb>Critique of Judgment\u003c/b>?) Defending his position, Storr comments, “The sensual world is not necessarily a beautiful world, and pleasuring the public has never been a requirement of modern art. Sensing doesn’t always mean enjoying.”\u003c/p>\n\u003cp>Storr’s group show has been described as quite “political” in tone, and as a show with a “postcolonial” thesis. The group show certainly includes a number of works documenting contemporary geopolitical conflict. While setting up the show, Storr notes that he became particularly interested in “the way artists respond to violence, cultural violence, physical violence” as well as “the way they respond to… these questions of nationality and the fact that nationality doesn’t say very much about most people.” For Storr, the question of “nationhood” and “nationality” seem particularly trenchant today, when so many nations have buckled beneath civil war and ethnic strife. Storr notes, “We have a nationality that is imposed as a political structure…but…[it] is not written in the land.”\u003c/p>\n\u003cp>At a Venice Biennale marked by “firsts,” history was on every mind, with old Europe trying to escape it and the emerging nations trying to claim it. This year marked the first year that the event included Lebanon, Turkey and Mexico. It was also the first year that the event included an entire pavilion dedicated to Sub-Saharan Africa, and the first time that the event directed by an American. These firsts played against the Venice Biennale’s 110-year history, and against the city’s own storied past.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-2.jpg\" border=\"0\" style=\"float: right;margin-left: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>The Biennale renders the old colonial relations in brick-and-mortar, juxtaposing nineteenth-century colonial powers with their former colonies. This physical proximity brings about a confrontation between these nations and their histories. Though the event is purportedly an exhibition of contemporary art (or, as Storr put it, for “art in the present tense”), a showcase for today’s most interesting work, we never stray far from history.\u003c/p>\n\u003cp>My fellow observers described the 52nd edition of the Venice Biennale as particularly \u003ca href=\"http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/movement?id=576\" target=\"offsite\" rel=\"noopener\"> “postcolonial”\u003c/a> in flavor. Depending on the speaker, this comment cut both ways. For some, this year’s Biennale placed too much emphasis on the past. Storr chose to include a record number of established artists in the Arsenale’s group show. His decision to look backwards incurred criticism from curators and critics searching for the Next Big Thing. For others, “postcolonialism” denotes a position already passé and irrelevant, too Eighties, too bound up in that decade’s debates.\u003c/p>\n\u003cp>For many, this year’s Biennale is a “postcolonial” affair because it is unusually inclusive. And indeed, many of the former colonies chose to display works addressing their colonial past. The Australian artist \u003ca href=\"http://www.australiavenicebiennale.com.au/content/view/13/39/lang,en/\" target=\"offsite\" rel=\"noopener\">Susan Norrie\u003c/a> contributed a haunting video installation documenting the environmental devastation wrought by Western mining concerns in rural Indonesia. In the Giardini, Brazilian children, as part of the \u003ca href=\"http://daddytypes.com/2007/06/15/the_morrinho_project_my_first_favela_playset.php\" target=\"offsite\" rel=\"noopener\">Morrinho project\u003c/a>, built miniature models of favelas out of red clay. \u003ca href=\"http://renaissancesociety.org/site/Exhibitions/Essay.41.0.0.0.0.html\" target=\"offsite\" rel=\"noopener\">Willie Doherty\u003c/a> presented “Ghost Stories” (2007), an allegory of Northern Ireland’s recent civil wars.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/venice-3.jpg\" border=\"0\" style=\"float: left;margin-right: 5px;margin-bottom: 5px\">\u003c/p>\n\u003cp>Consider the British-Nigerian artist,\u003ca href=\"http://www.tate.org.uk/britain/turnerprize/2004/shonibare.shtm\" target=\"offsite\" rel=\"noopener\">Yinka Shonibare’s\u003c/a> “How to Blow Up Two Heads at Once” (2006), a sculpture featuring a pair of dueling figures clad in tail-coats and breeches. The headless figures point old-fashioned pistols at each other. Shonibare’s figures are dressed, not in European cottons and wools, but in brightly patterned batik fabric. The figures are terrifically aesthetic (one can almost imagine these designs on a Parisian runway, with their magpie colors and aggressive patterns), and yet strangely disturbing, even melancholy. The figures engage African history on multiple levels, at once an indictment of the European gamesmanship that divided Africa in the nineteenth century, and a troubling allegory of the ethnic strife that continues to divide Africa today.\u003c/p>\n\u003cp>Shonibare’s sculpture grapples with African identity. How, Shonibare asks, do we build a nation under these conditions? Are African nations simply European constructs dressed in native garb, or can Africans make something more of their situation, build something functional? Do “foreign” structures remain forever foreign? Although Shonibare’s image (two headless figures dueling with pistols) is undeniably comic, it elicits a dark humor. In the African context, the nineteenth-century’s violence still sits too close to the skin.\u003c/p>\n\u003cp>For Congolese businessman Sindika Dokolo, the collector behind \u003ca href=\"http://edition.cnn.com/2007/WORLD/africa/06/04/venice.biennale/index.html\" target=\"offsite\" rel=\"noopener\">Check List Luanda Pop\u003c/a>, an exhibition dedicated to contemporary African art, the production and display of art in a postcolonial context is inextricably linked to colonialism’s legacy of underdevelopment.\u003c/p>\n\u003cp>Contemporary African art, Dokolo notes, “is not very African… we are not in control of our own cultural domain and this has had an impact on the content of our artistic production.” Dokolo describes contemporary African art as a conflicted practice, marked by the tension between a tendency towards producing objects imbued with “second-rate exoticism” for the Western market, and a need to produce art that is truly rooted in the African context.\u003c/p>\n\u003cp>Yet that context, at least in today’s climate, is nearly nonexistent. Like so many postcolonial nations, Angola (where Dokolo is based) does not have the infrastructure, or the funds, to nurture contemporary culture. Today, as yesterday, capital (cultural and otherwise) continues to flow north, away from Africa, or Latin America, or Oceania, or Southeast Asia.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=18361\">See Part Two\u003c/a> of Cynthia Houng’s Venice Biennale post.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anthony Lister: Cracker Got Snapped by the Pops",
"headTitle": "Anthony Lister: Cracker Got Snapped by the Pops | KQED",
"content": "\u003cp>Anthony Lister hails from the lovely city of Brisbane, Australia, and recently relocated to Brooklyn. During his first trip to San Francisco, Lister installed a small series of paintings brilliantly titled \u003cb>Cracker Got Snapped by the Pops\u003c/b> at Fifty 24SF gallery, a space that is part of the Upper Playground dynasty. A few years ago, I heard a rumor that Upper Playground — a store best known for their artist-designed t-shirts and hoodies, was struggling to get by. Well, apparently they won the lottery, because they now have a gallery and two stores at the illustrious intersection of Fillmore and Haight Streets in San Francisco, another store in Portland, and a new one opening in London. Upper Playground is prolific and produces everything from films to furniture. Much of their merchandise is based on the work of notable urban artists such as Albert Reyes, Sam Flores, David Choe, and now Lister.\u003c/p>\n\u003cp>Lister often works with images of superheroes, but they aren’t fighting crimes or saving damsels in distress. They’re fallen, tied up or just plain downtrodden and vaguely abstracted, much like our childhood memories. The artist has also included distorted images of recognizable cartoon characters like Mickey Mouse and Toucan Sam in some of his past works as a commentary on societies in which a barrage of media is unavoidable. The majority of the works in the \u003cb>Cracker Got Snapped by the Pops\u003c/b> collection don’t contain Lister’s usual iconography, but they maintain his veiled messages about contemporary culture.\u003c/p>\n\u003cp>The show at Fifty 24SF is cleanly laid out in the small space, which smells like fresh paint. One side hosts a large face painted directly on the wall by Lister and the opposite wall has an installation of small paintings on board. Using spray paint, water color and acrylics, Lister renders symbolic images, then coats them in shiny polyester resin — a medium that never fails to add an alluring quality. There are three types of paintings — some of daggers, some of faces wearing bandanas, and some of clumps of colorful creatures. They are numbered and categorized by only three titles — \u003cb>Blades of Steel\u003c/b>, \u003cb>New York City Kids\u003c/b>, and \u003cb>Crackle Pops\u003c/b>. The seventh in the \u003cb>Crackle Pops\u003c/b> series was an image of a pants-less figure being attacked by the heads of a bird, a rabbit, and a dragon. Lister’s style of illustration is unique and deserves a long look. The \u003cb>New York City Kids\u003c/b> faces are blurred in such a way that you may think you’re having a bout of double vision at first glance.\u003c/p>\n\u003cp>Along the back wall is an installation called \u003cb>Open Cases\u003c/b> that looks like a poor man’s Batman who has fallen flat on his face. The figure’s cape is made of what looks like a shower curtain, and his black-gloved hands are handcuffed and attached to arms made of sticks. There is also a boxy black creature attached to the wall behind the collapsed hero. The mystery of Lister’s work is intriguing. Did the figure on the wall kill batman? Does the title indicate that this crime is under investigation?\u003c/p>\n\u003cp>If you appreciate a symbiotic blend of cynicism, humor, and grim honesty, \u003cb>Cracker Got Snapped by the Pops\u003c/b> will leave you wanting to see more of Lister’s work. Check out his Web site and his \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=676\" target=\"offsite\" rel=\"noopener\">interview on Fecal Face dot com\u003c/a> to get your fix. In reading the interview, I learned that Lister loves to wear socks, and his favorite 1980’s cartoon was He-Man. Apparently, the artist and I have some things in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Anthony Lister hails from the lovely city of Brisbane, Australia, and recently relocated to Brooklyn. During his first trip to San Francisco, Lister installed a small series of paintings brilliantly titled \u003cb>Cracker Got Snapped by the Pops\u003c/b> at Fifty 24SF gallery, a space that is part of the Upper Playground dynasty. A few years ago, I heard a rumor that Upper Playground -- a store best known for their artist-designed t-shirts and hoodies, was struggling to get by. Well, apparently they won the lottery, because they now have a gallery and two stores at the illustrious intersection of Fillmore and Haight Streets in San Francisco, another store in Portland, and a new one opening in London. Upper Playground is prolific and produces everything from films to furniture. Much of their merchandise is based on the work of notable urban artists such as Albert Reyes, Sam Flores, David Choe, and now Lister.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Lister hails from the lovely city of Brisbane, Australia, and recently relocated to Brooklyn. During his first trip to San Francisco, Lister installed a small series of paintings brilliantly titled \u003cb>Cracker Got Snapped by the Pops\u003c/b> at Fifty 24SF gallery, a space that is part of the Upper Playground dynasty. A few years ago, I heard a rumor that Upper Playground — a store best known for their artist-designed t-shirts and hoodies, was struggling to get by. Well, apparently they won the lottery, because they now have a gallery and two stores at the illustrious intersection of Fillmore and Haight Streets in San Francisco, another store in Portland, and a new one opening in London. Upper Playground is prolific and produces everything from films to furniture. Much of their merchandise is based on the work of notable urban artists such as Albert Reyes, Sam Flores, David Choe, and now Lister.\u003c/p>\n\u003cp>Lister often works with images of superheroes, but they aren’t fighting crimes or saving damsels in distress. They’re fallen, tied up or just plain downtrodden and vaguely abstracted, much like our childhood memories. The artist has also included distorted images of recognizable cartoon characters like Mickey Mouse and Toucan Sam in some of his past works as a commentary on societies in which a barrage of media is unavoidable. The majority of the works in the \u003cb>Cracker Got Snapped by the Pops\u003c/b> collection don’t contain Lister’s usual iconography, but they maintain his veiled messages about contemporary culture.\u003c/p>\n\u003cp>The show at Fifty 24SF is cleanly laid out in the small space, which smells like fresh paint. One side hosts a large face painted directly on the wall by Lister and the opposite wall has an installation of small paintings on board. Using spray paint, water color and acrylics, Lister renders symbolic images, then coats them in shiny polyester resin — a medium that never fails to add an alluring quality. There are three types of paintings — some of daggers, some of faces wearing bandanas, and some of clumps of colorful creatures. They are numbered and categorized by only three titles — \u003cb>Blades of Steel\u003c/b>, \u003cb>New York City Kids\u003c/b>, and \u003cb>Crackle Pops\u003c/b>. The seventh in the \u003cb>Crackle Pops\u003c/b> series was an image of a pants-less figure being attacked by the heads of a bird, a rabbit, and a dragon. Lister’s style of illustration is unique and deserves a long look. The \u003cb>New York City Kids\u003c/b> faces are blurred in such a way that you may think you’re having a bout of double vision at first glance.\u003c/p>\n\u003cp>Along the back wall is an installation called \u003cb>Open Cases\u003c/b> that looks like a poor man’s Batman who has fallen flat on his face. The figure’s cape is made of what looks like a shower curtain, and his black-gloved hands are handcuffed and attached to arms made of sticks. There is also a boxy black creature attached to the wall behind the collapsed hero. The mystery of Lister’s work is intriguing. Did the figure on the wall kill batman? Does the title indicate that this crime is under investigation?\u003c/p>\n\u003cp>If you appreciate a symbiotic blend of cynicism, humor, and grim honesty, \u003cb>Cracker Got Snapped by the Pops\u003c/b> will leave you wanting to see more of Lister’s work. Check out his Web site and his \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=676\" target=\"offsite\" rel=\"noopener\">interview on Fecal Face dot com\u003c/a> to get your fix. In reading the interview, I learned that Lister loves to wear socks, and his favorite 1980’s cartoon was He-Man. Apparently, the artist and I have some things in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"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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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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