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"content": "\u003cp>SF MoMA needs more guards. \u003cb>Picasso and American Art\u003c/b> is perhaps the most valuable exhibit to populate the museum’s walls since it reopened in 1995. The show includes several works by American painting superstars such as Jackson Pollock, Andy Warhol, Willem de Kooning, and Roy Lichtenstein, to name just a few. The goal of the exhibit is to contextualize Picasso’s dramatic and significant influence on American contemporary art. His paintings are displayed alongside the works of other famous painters who mirrored his style at some point in their careers. Many of the inspired-by-Picasso paintings were created within a few years of his originals, providing visible evidence that artists are the biggest proponents of the notion that imitation is a form of flattery. I’ve affectionately titled this exhibit “The Copycats Picnic,” which includes Picasso himself, as African art forms were one of his earliest influences.\u003c/p>\n\u003cp>In 1939, Picasso had his first big show in the states. Young emerging artists such as Pollock and Louise Bourgeois attended the exhibit and fell into tortured, self-conscious artist mode. Bourgeois stopped painting for a month. Pollock bought a book on Picasso and later threw it against a wall in a fit of rage, screaming, “That guy thought of everything!” Picasso single-handedly shattered their dreams. Though each artist represented in MoMA’s new exhibit eventually developed a unique style of their own, it is clear that all of them were at one time under the influence of Picasso’s groundbreaking style that forcefully shifted the world of contemporary art, \u003ca href=\"http://www.cnn.com/2007/SHOWBIZ/02/28/picasso.theft.ap/index.html\" target=\"offsite\" rel=\"noopener\">four hundred and forty four stolen paintings\u003c/a> at a time.\u003c/p>\n\u003cp>Arshile Gorky seemed to be the most unscrupulous of the copycats, he straight up plagiarized Picasso’s work. Claes Oldenberg, on the other hand, was actually commissioned to create a copy of a maquette of an outdoor public sculpture Picasso donated to the city of Chicago. Oldenberg’s “soft version” was used as evidence in a lawsuit resulting from the fact that city officials tried to financially benefit from the gifted work. In the last gallery, several works by Jasper Johns are respectful tributes to Picasso, one of which appears to be a gentle color study that includes the only image of Picasso’s face in the exhibit. Also, two of Johns’ recent encaustic-on-canvas works, \u003cb>Pyre\u003c/b> and \u003cb>Pyre 2\u003c/b> make their debut in this show. The matching pieces incorporate the diamond-shaped pattern associated with the Harlequin, a figure infamous for seducing women with wine that also happens to be Picasso’s best known alter-ego.\u003c/p>\n\u003cp>To learn more about the exhibit, rent one of MoMA’s iPods for two dollars. The Podcast program is produced by the Whitney Museum of American Art and includes fascinating information about selected works in the exhibit. The Podcast immediately schooled me when, for a moment, I truly believed that I must be the first person in history to notice that Lee Krasner had signed one of her paintings “Krassner,” with an additional “s”. Looking down at my trusty MP3-playing device, I noticed with dejection that one of the tracks was titled \u003cb>Krasner Signature\u003c/b>, effectively solving the mystery. The only saving grace was the gossip related to the mystery. Artist gossip is much more interesting than regular celebrity gossip, and the Podcast contains more dirty laundry than an issue of \u003ci>People Magazine\u003c/i>.\u003c/p>\n\u003cp>It doesn’t matter if you are not a fan of Picasso’s work; he stopped caring when he dropped dead at a dinner party in 1973, leaving the world with his final words, “Drink to me, drink to my health — you know I can’t drink anymore.” What does matter is that you recognize that his profound impact helped the world realize that art should not be limited by the boundaries of realism and accurate representation. A prime example is his painting, \u003cb>The Studio\u003c/b>, which is thoroughly abstract — a seeming smattering of colorful shapes. Somehow, art historians have gathered that it actually represents a table with a bowl of fruit (two triangles and a circle) on a tablecloth (a red square) with the artist standing in front of a door (a white blob on top of a yellow rectangle) painting a sculpted head (another white blob on top of the red square). Whether he intended to or not, Picasso successfully encouraged his audience to be more diligent in honing their analytical skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to being the longest-lived artist of the twentieth century, Picasso also had a very long traditional Spanish name — Pablo Diego José Francisco de Paula Juan Nepomuceno MarÃa Julio de los Remedios Crispín Crispiniano de la Santísima Trinidad Ruiz y Picasso. Good thing he only signed his paintings with the last part, otherwise there would’ve been no room for the images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Picasso and American Art\u003c/b> runs through May 23, 2007 at SFMoMA.\u003c/p>\n\n",
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"content": "\u003cp>Who goes to a photography exhibit at the San Francisco City Hall on a Friday afternoon? Hmm, probably not many. But when the work is Mark Leong’s, you might as well endure parking nightmares or public transportation just to get a glimpse. In the absence of a conventional gallery setting, Leong’s photography creates one. Beginning in late December, and continuing until March 23. his exhibit is a part of a wider photography showcase entitled \u003cb>China Today,\u003c/b> with the Fremont, Ca-based Chinese Artist Network.\u003c/p>\n\u003cp>In this collection of photographs, \u003cb> The Heaviness of Consumption\u003c/b>, Leong documents the growing market economy of China, and its effects on the rural and urban populations of the country. The photographs reveal an ongoing process of globalization, urbanization, and the overall commodification of people into sellable entities.\u003c/p>\n\u003cp>As a black and white film enthusiast; the kind who prefers the dark room to the Walgreen’s photo counter or internet uploading, digital photography has a long way to go before it impresses me. But Leong’s digital prints did. I had never seen the digital format capture tones and contrasts so well. It was as if the action in the photographs was happening in front of me. One image, \u003cb>Thirteen year-old with Gameboy and Braces\u003c/b> shows a young man named Gu Zhou Xin Yu smiling while his braces gleam, as slight outlines of veins pop out of his temples. He stares in amazement at his newly purchased Gameboy. He is in his own digital world; bright red, orange, and green signs provide the context for his activities. The young man’s attire is decorated with American brand names. The caption notes that the Gameboy cost 1000 yuan and his braces, 9000 yuan, all purchased by his single mother.\u003c/p>\n\u003cp>Another photograph entitled \u003cb>Massage Parlor\u003c/b> shows a horizontal line of rosy-cheeked Chinese woman standing in white uniforms with name tags, smiling sheepishly as one man points at them, identifying their massage services for the other man sitting beside him. Some of their expressions reveal a shielded awkwardness; they are essentially being purchased. On the wall above them hangs a European renaissance painting of two nude white women. The message here is subtle, showing the link between global exploitation of women as well as the Eurocentric ideal of beauty that is found in communities throughout the world.\u003c/p>\n\u003cp>Though I know it was a Friday and people probably don’t venture to galleries when they could be shopping at the new San Francisco mall, it saddened me to see the destitute atmosphere at the exhibit. Other than me, no other patron entered the gallery, unless they were employed in City Hall, and once they stopped and noticed the visual audacity of Leong, they were caught in his photographic rapture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show left me with an unfinished feeling. While the photographs are aesthetically pleasing, the social dynamics that make them possible, are unsettling. \u003cb>Landfill\u003c/b> provides a grotesque, yet consequential end to the trail of photographs of consumption and globalization. Slightly blurry, the picture captures a huge portion of a landfill, complete with wet garbage, coke cans, leftover food, and strips of clothes, as a tractor pushes the mass toward the camera. I wondered how Leong managed to get the shot. Yet I admired his ability to frame the exhibit in reality. I left the exhibit wanting more and feeling that a show like this should be packed. Visit City Hall on any afternoon; this show is a definite gem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mark Leong: \u003cb>The Heaviness of Consumption\u003c/b> is at San Francisco City Hall through March 23, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who goes to a photography exhibit at the San Francisco City Hall on a Friday afternoon? Hmm, probably not many. But when the work is Mark Leong’s, you might as well endure parking nightmares or public transportation just to get a glimpse. In the absence of a conventional gallery setting, Leong’s photography creates one. Beginning in late December, and continuing until March 23. his exhibit is a part of a wider photography showcase entitled \u003cb>China Today,\u003c/b> with the Fremont, Ca-based Chinese Artist Network.\u003c/p>\n\u003cp>In this collection of photographs, \u003cb> The Heaviness of Consumption\u003c/b>, Leong documents the growing market economy of China, and its effects on the rural and urban populations of the country. The photographs reveal an ongoing process of globalization, urbanization, and the overall commodification of people into sellable entities.\u003c/p>\n\u003cp>As a black and white film enthusiast; the kind who prefers the dark room to the Walgreen’s photo counter or internet uploading, digital photography has a long way to go before it impresses me. But Leong’s digital prints did. I had never seen the digital format capture tones and contrasts so well. It was as if the action in the photographs was happening in front of me. One image, \u003cb>Thirteen year-old with Gameboy and Braces\u003c/b> shows a young man named Gu Zhou Xin Yu smiling while his braces gleam, as slight outlines of veins pop out of his temples. He stares in amazement at his newly purchased Gameboy. He is in his own digital world; bright red, orange, and green signs provide the context for his activities. The young man’s attire is decorated with American brand names. The caption notes that the Gameboy cost 1000 yuan and his braces, 9000 yuan, all purchased by his single mother.\u003c/p>\n\u003cp>Another photograph entitled \u003cb>Massage Parlor\u003c/b> shows a horizontal line of rosy-cheeked Chinese woman standing in white uniforms with name tags, smiling sheepishly as one man points at them, identifying their massage services for the other man sitting beside him. Some of their expressions reveal a shielded awkwardness; they are essentially being purchased. On the wall above them hangs a European renaissance painting of two nude white women. The message here is subtle, showing the link between global exploitation of women as well as the Eurocentric ideal of beauty that is found in communities throughout the world.\u003c/p>\n\u003cp>Though I know it was a Friday and people probably don’t venture to galleries when they could be shopping at the new San Francisco mall, it saddened me to see the destitute atmosphere at the exhibit. Other than me, no other patron entered the gallery, unless they were employed in City Hall, and once they stopped and noticed the visual audacity of Leong, they were caught in his photographic rapture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show left me with an unfinished feeling. While the photographs are aesthetically pleasing, the social dynamics that make them possible, are unsettling. \u003cb>Landfill\u003c/b> provides a grotesque, yet consequential end to the trail of photographs of consumption and globalization. Slightly blurry, the picture captures a huge portion of a landfill, complete with wet garbage, coke cans, leftover food, and strips of clothes, as a tractor pushes the mass toward the camera. I wondered how Leong managed to get the shot. Yet I admired his ability to frame the exhibit in reality. I left the exhibit wanting more and feeling that a show like this should be packed. Visit City Hall on any afternoon; this show is a definite gem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mark Leong: \u003cb>The Heaviness of Consumption\u003c/b> is at San Francisco City Hall through March 23, 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jeremy Mora \"Sculpture\"",
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"content": "\u003cp>Jeremy Mora is going to need bifocals long before he hits mid-life. His diminutive sculptures are unique and eye-opening and can best be described as dioramas that have escaped the shoebox. Exhibited at the newly revamped Mark Wolfe Contemporary Art Gallery, Mora’s small landscape sculptures jut out from the wall at various levels or are riskily installed on the floor. He uses driftwood, Irish tree branches and building materials to create habitats for miniscule figures, which are literally the size of a pin and are purchased from a model train shop in Los Angeles where the artist currently works. Tiny parking cones, trees, and statues meant for escapist environments built by obsessive train collectors are included in the work and transfer quite well into the world of fine art. Words aren’t enough to convey how delicate the sculptures appear and it was not surprising to learn that careless opening night reception attendees crushed three of the floor installations. Though Mora was able to glue the pieces back together after the opening, his work is far more complicated than it looks. One of the latest pieces from 2006, \u003cb>Untitled (Rescue)\u003c/b> is a grapefruit-sized mass of leaves, twigs, and cement chunks hanging from a delicate green vine made of an algae-like fungus called lichen intricately wrapped around piano wire. This was the last piece Mora created for the show and the idea came about spontaneously during an inspirational studio clean-up.\u003c/p>\n\u003cp>It’s obvious that Mora paid special attention to the space in which his work would be displayed. His style is vaguely reminiscent of \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5840\">Tracy Snelling\u003c/a>‘s small-scale replicas of run-down architecture but is less voyeuristic and has an ardent sensibility. A floor sculpture titled \u003cb>Things Are Gonna Change\u003c/b> incorporated a pile of rubble, a broken piece of roadway, and a small bloody axe. The work is full of curiosity and leaves the viewer wondering where the pieces might lead — an example is a thread-thin ladder made of skinny strips of drywall tape that is inscrutably sucked up by a hole in the gallery’s jagged concrete ceiling.\u003c/p>\n\u003cp>Mora is not concerned with perfection in the traditional sense. He doesn’t hide the Styrofoam bases of his work but instead chooses to glorify them. As Mora has said, sculpture stole him from painting and, inspired by Hans Hofman’s book, \u003cb>Search for the Real\u003c/b>, he realized that specific materials conveyed certain messages and felt that PourStone anchoring cement, tree branches, and miniscule human figures could send messages unlike any other media. Hofman, an influential painter, also once said that nature’s purpose in art is “to provide stimulus — not imitation,” which is exactly how Mora’s work operates. Though they do represent unusual outdoor scenes, the pieces aim to provoke thoughts about humanity — they are not meant to be exacting representations of the natural world.\u003c/p>\n\u003cp>Mora’s exhibit inspires a desire to be Alice in Wonderland and have the ability to eat a little cake and become small enough to explore his miniature vignettes. The sculptures invite contemplation of how big (or small) we really are in the grand scheme of the universe. Mora introspectively looks at the happenings of the world around him and transfers his observations into works that are impossibly small but have much to say about contemporary life. He is interested in what he calls “pushing the moment.”\u003c/p>\n\u003cp>The wise words of an enlightened little girl, who was at the reception handing viewers slips of paper printed with the following sentiment, should be enough to convince you of the captivating relevance of Mora’s work: “Dear Ladies and Gentlemen, Jeremy Mora is the coolest person I ever met in my entire life. He can almost do anything he could think of. I mean if he would want to make his life the best life he possibly could have, he could make it that way. His life is already like that. So enjoy his happiness and yours.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> Jeremy Mora’s “Sculpture” is at Mark Wolfe Contemporary Art Gallery in San Francisco through March 23, 2007.\u003c/p>\n\n",
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"excerpt": "Jeremy Mora is going to need bifocals long before he hits mid-life. His diminutive sculptures are unique and eye-opening and can best be described as dioramas that have escaped the shoebox. Exhibited at the newly revamped Mark Wolfe Contemporary Art Gallery, Mora's small landscape sculptures jut out from the wall at various levels or are riskily installed on the floor. He uses driftwood, Irish tree branches and building materials to create habitats for miniscule figures, which are literally the size of a pin and are purchased from a model train shop in Los Angeles where the artist currently works. Tiny parking cones, trees, and statues meant for escapist environments built by obsessive train collectors are included in the work and transfer quite well into the world of fine art. Words aren't enough to convey how delicate the sculptures appear and it was not surprising to learn that careless opening night reception attendees crushed three of the floor installations. Though Mora was able to glue the pieces back together after the opening, his work is far more complicated than it looks. One of the latest pieces from 2006, \u003cb>Untitled (Rescue)\u003c/b> is a grapefruit-sized mass of leaves, twigs, and cement chunks hanging from a delicate green vine made of an algae-like fungus called lichen intricately wrapped around piano wire. This was the last piece Mora created for the show and the idea came about spontaneously during an inspirational studio clean-up.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jeremy Mora is going to need bifocals long before he hits mid-life. His diminutive sculptures are unique and eye-opening and can best be described as dioramas that have escaped the shoebox. Exhibited at the newly revamped Mark Wolfe Contemporary Art Gallery, Mora’s small landscape sculptures jut out from the wall at various levels or are riskily installed on the floor. He uses driftwood, Irish tree branches and building materials to create habitats for miniscule figures, which are literally the size of a pin and are purchased from a model train shop in Los Angeles where the artist currently works. Tiny parking cones, trees, and statues meant for escapist environments built by obsessive train collectors are included in the work and transfer quite well into the world of fine art. Words aren’t enough to convey how delicate the sculptures appear and it was not surprising to learn that careless opening night reception attendees crushed three of the floor installations. Though Mora was able to glue the pieces back together after the opening, his work is far more complicated than it looks. One of the latest pieces from 2006, \u003cb>Untitled (Rescue)\u003c/b> is a grapefruit-sized mass of leaves, twigs, and cement chunks hanging from a delicate green vine made of an algae-like fungus called lichen intricately wrapped around piano wire. This was the last piece Mora created for the show and the idea came about spontaneously during an inspirational studio clean-up.\u003c/p>\n\u003cp>It’s obvious that Mora paid special attention to the space in which his work would be displayed. His style is vaguely reminiscent of \u003ca href=\"http://www.kqed.org/arts/people/spark/profile.jsp?id=5840\">Tracy Snelling\u003c/a>‘s small-scale replicas of run-down architecture but is less voyeuristic and has an ardent sensibility. A floor sculpture titled \u003cb>Things Are Gonna Change\u003c/b> incorporated a pile of rubble, a broken piece of roadway, and a small bloody axe. The work is full of curiosity and leaves the viewer wondering where the pieces might lead — an example is a thread-thin ladder made of skinny strips of drywall tape that is inscrutably sucked up by a hole in the gallery’s jagged concrete ceiling.\u003c/p>\n\u003cp>Mora is not concerned with perfection in the traditional sense. He doesn’t hide the Styrofoam bases of his work but instead chooses to glorify them. As Mora has said, sculpture stole him from painting and, inspired by Hans Hofman’s book, \u003cb>Search for the Real\u003c/b>, he realized that specific materials conveyed certain messages and felt that PourStone anchoring cement, tree branches, and miniscule human figures could send messages unlike any other media. Hofman, an influential painter, also once said that nature’s purpose in art is “to provide stimulus — not imitation,” which is exactly how Mora’s work operates. Though they do represent unusual outdoor scenes, the pieces aim to provoke thoughts about humanity — they are not meant to be exacting representations of the natural world.\u003c/p>\n\u003cp>Mora’s exhibit inspires a desire to be Alice in Wonderland and have the ability to eat a little cake and become small enough to explore his miniature vignettes. The sculptures invite contemplation of how big (or small) we really are in the grand scheme of the universe. Mora introspectively looks at the happenings of the world around him and transfers his observations into works that are impossibly small but have much to say about contemporary life. He is interested in what he calls “pushing the moment.”\u003c/p>\n\u003cp>The wise words of an enlightened little girl, who was at the reception handing viewers slips of paper printed with the following sentiment, should be enough to convince you of the captivating relevance of Mora’s work: “Dear Ladies and Gentlemen, Jeremy Mora is the coolest person I ever met in my entire life. He can almost do anything he could think of. I mean if he would want to make his life the best life he possibly could have, he could make it that way. His life is already like that. So enjoy his happiness and yours.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a flat-screen television before me, the \u003cb>Baywatch\u003c/b> actress and sometime model Pamela Anderson frolics with her then-husband, Tommy Lee. “Babe,” she calls him, only the voice is dubbed, and the Pamela gamely smiling at the camera was animated, all flat colors and sharp lines. I am watching, not the original videotape of the infamous Anderson-Lee honeymoon, but Kota Ezawa’s animation after the original.\u003c/p>\n\u003cp>Anna Nicole Smith died the day before I watched Ezawa’s \u003cb>Two Stolen Honeymoons are Better than One\u003c/b> (2007), and she stayed on my mind through Pamela and Tommy’s pastel California honeymoon. Like Pamela, Anna Nicole had been a “golden girl,” known for her stunning good looks and tabloid love life. Ezawa’s piece stays away from the original’s lurid tabloid overtones — the tape is better known in some circles as the Anderson-Lee “sex tape.” The video gives a shared fantasy, a dream of life as bubblegum, cordoned off from danger and deprivation by beauty and privilege. Though Ezawa describes his piece as an investigation into our consumption of celebrity, the animation’s sweetness blunts any critique.\u003c/p>\n\u003cp>Ezawa’s piece appears at SFMOMA, as part of the \u003ca>2006 SECA Art Awards Exhibition\u003c/a>. The show, like most SECA-associated exhibitions, eschews an overarching curatorial thesis. I can tell you that there were five artists in the SECA show: Sarah Cain, Kota Ezawa, Amy Franceschini, Mitzi Pederson, and Leslie Shows. The artists skew towards the younger end of the demographic spectrum. The work, though quite formal in execution, bore a strong craft influence, and all five artists referenced the 1970s in some form or another. \u003c/p>\n\u003cp>As I began assembling my notes from the SECA exhibition, I had trouble situating these works within a broader critical landscape. My response to the work seemed caught between the subjective (“I like this,” “I do not like this”) and the antiquarian (“This work reminds me of \u003ca href=\"http://www.pbs.org/art21/artists/kelley/index.html\" target=\"offsite\" rel=\"noopener\">Mike Kelley\u003c/a>,” “Pederson’s pendulous sculptures remind me of \u003ca href=\"http://www.artchive.com/artchive/H/hesse.html\" target=\"offsite\" rel=\"noopener\">Eva Hesse\u003c/a>,” “Sarah Cain’s leaf sculpture, \u003cb>& if each color, by you like a lover so let to the streets\u003c/b> (2007), reminds me of \u003ca>Arte Povera\u003c/a>“).\u003c/p>\n\u003cp>I can tell you that Franceschini came from a family with roots in the San Joaquin Valley, that Pederson favors glitter, and that Ezawa had the patience to watch the Anderson-Lee video, and then animate it. I can tell you that I found Ezawa’s animation touching and sentimental, something I did not expect. I can also tell you that I enjoyed Pederson’s ability to play with lines in space, and I found her combination of black glitter and grey concrete in her sculpture \u003cb>untitled (ten years later or maybe just one)\u003c/b> formally compelling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The SECA show is symptomatic of a broader problem within contemporary art — on one hand, art critics and historians no longer possess the appropriate tools to write about contemporary art, and on the other hand, contemporary art contains no models and no practices that can serve as a common language. \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=73\" target=\"offsite\" rel=\"noopener\">Conceptual Art\u003c/a> did away with the boundaries between theory and art. Today, art is art. Art is self-reflexive. Art is anything that we declare as “art.” “Art” lodges in any practice, in any moment. So contemporary art is studded with a few moments, sublime or aesthetic, or simply “breath-taking” or “spectacular” (in the Debordian sense), but as a field, it does not, and cannot, cohere.\u003c/p>\n\u003cp>We are left with reruns of the past. Skilled reruns, to be sure, but still reruns. Like their Arte Povera forebears, Cain, Shows and Pederson turn towards base materials. But what read as technical radicalism in the late sixties now reads as institutional entrenchment. The idea is no longer new, nor does it remain avant-garde. The execution, however, can still be formally compelling. The object can still exhibit care, thought and craft. In their best work, these artists produce objects that fill these criteria.\u003c/p>\n\u003cp>Unlike the Arte Povera artists, however, the leftist critique that once went hand-in-glove with these practices has dissipated, or been sublimated. All that remains is consumption. In Ezawa’s video, Pamela and Tommy’s interactions have been transformed into aesthetic problems. Projected onto double screens, one rendered in cool-tones, and the other imbued with a warm, yellow cast, the figures lead us to consider questions of color, geometry, and line. Pamela and Tommy have become purely aesthetic. All along, we have suspected as much. They were never truly human, not even in their darkest moments, or in their wildest joys. They have always been objects and Ezawa’s video completes the cycle. In \u003cb>Two Stolen Honeymoons are Better than One\u003c/b> we continue to consume these bodies as beautiful objects, but this time without guilt. They are, after all, only paper dolls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2006 SECA Art Awards show runs through April 11, 2007 at SFMOMA. \u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=252\" target=\"offsite\" rel=\"noopener\">More info\u003c/a> (at sfmoma.org).\u003c/p>\n\n",
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"excerpt": "On a flat-screen television before me, the \u003cb>Baywatch\u003c/b> actress and sometime model Pamela Anderson frolics with her then-husband, Tommy Lee. \"Babe,\" she calls him, only the voice is dubbed, and the Pamela gamely smiling at the camera was animated, all flat colors and sharp lines. I am watching, not the original videotape of the infamous Anderson-Lee honeymoon, but Kota Ezawa's animation after the original.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a flat-screen television before me, the \u003cb>Baywatch\u003c/b> actress and sometime model Pamela Anderson frolics with her then-husband, Tommy Lee. “Babe,” she calls him, only the voice is dubbed, and the Pamela gamely smiling at the camera was animated, all flat colors and sharp lines. I am watching, not the original videotape of the infamous Anderson-Lee honeymoon, but Kota Ezawa’s animation after the original.\u003c/p>\n\u003cp>Anna Nicole Smith died the day before I watched Ezawa’s \u003cb>Two Stolen Honeymoons are Better than One\u003c/b> (2007), and she stayed on my mind through Pamela and Tommy’s pastel California honeymoon. Like Pamela, Anna Nicole had been a “golden girl,” known for her stunning good looks and tabloid love life. Ezawa’s piece stays away from the original’s lurid tabloid overtones — the tape is better known in some circles as the Anderson-Lee “sex tape.” The video gives a shared fantasy, a dream of life as bubblegum, cordoned off from danger and deprivation by beauty and privilege. Though Ezawa describes his piece as an investigation into our consumption of celebrity, the animation’s sweetness blunts any critique.\u003c/p>\n\u003cp>Ezawa’s piece appears at SFMOMA, as part of the \u003ca>2006 SECA Art Awards Exhibition\u003c/a>. The show, like most SECA-associated exhibitions, eschews an overarching curatorial thesis. I can tell you that there were five artists in the SECA show: Sarah Cain, Kota Ezawa, Amy Franceschini, Mitzi Pederson, and Leslie Shows. The artists skew towards the younger end of the demographic spectrum. The work, though quite formal in execution, bore a strong craft influence, and all five artists referenced the 1970s in some form or another. \u003c/p>\n\u003cp>As I began assembling my notes from the SECA exhibition, I had trouble situating these works within a broader critical landscape. My response to the work seemed caught between the subjective (“I like this,” “I do not like this”) and the antiquarian (“This work reminds me of \u003ca href=\"http://www.pbs.org/art21/artists/kelley/index.html\" target=\"offsite\" rel=\"noopener\">Mike Kelley\u003c/a>,” “Pederson’s pendulous sculptures remind me of \u003ca href=\"http://www.artchive.com/artchive/H/hesse.html\" target=\"offsite\" rel=\"noopener\">Eva Hesse\u003c/a>,” “Sarah Cain’s leaf sculpture, \u003cb>& if each color, by you like a lover so let to the streets\u003c/b> (2007), reminds me of \u003ca>Arte Povera\u003c/a>“).\u003c/p>\n\u003cp>I can tell you that Franceschini came from a family with roots in the San Joaquin Valley, that Pederson favors glitter, and that Ezawa had the patience to watch the Anderson-Lee video, and then animate it. I can tell you that I found Ezawa’s animation touching and sentimental, something I did not expect. I can also tell you that I enjoyed Pederson’s ability to play with lines in space, and I found her combination of black glitter and grey concrete in her sculpture \u003cb>untitled (ten years later or maybe just one)\u003c/b> formally compelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The SECA show is symptomatic of a broader problem within contemporary art — on one hand, art critics and historians no longer possess the appropriate tools to write about contemporary art, and on the other hand, contemporary art contains no models and no practices that can serve as a common language. \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=73\" target=\"offsite\" rel=\"noopener\">Conceptual Art\u003c/a> did away with the boundaries between theory and art. Today, art is art. Art is self-reflexive. Art is anything that we declare as “art.” “Art” lodges in any practice, in any moment. So contemporary art is studded with a few moments, sublime or aesthetic, or simply “breath-taking” or “spectacular” (in the Debordian sense), but as a field, it does not, and cannot, cohere.\u003c/p>\n\u003cp>We are left with reruns of the past. Skilled reruns, to be sure, but still reruns. Like their Arte Povera forebears, Cain, Shows and Pederson turn towards base materials. But what read as technical radicalism in the late sixties now reads as institutional entrenchment. The idea is no longer new, nor does it remain avant-garde. The execution, however, can still be formally compelling. The object can still exhibit care, thought and craft. In their best work, these artists produce objects that fill these criteria.\u003c/p>\n\u003cp>Unlike the Arte Povera artists, however, the leftist critique that once went hand-in-glove with these practices has dissipated, or been sublimated. All that remains is consumption. In Ezawa’s video, Pamela and Tommy’s interactions have been transformed into aesthetic problems. Projected onto double screens, one rendered in cool-tones, and the other imbued with a warm, yellow cast, the figures lead us to consider questions of color, geometry, and line. Pamela and Tommy have become purely aesthetic. All along, we have suspected as much. They were never truly human, not even in their darkest moments, or in their wildest joys. They have always been objects and Ezawa’s video completes the cycle. In \u003cb>Two Stolen Honeymoons are Better than One\u003c/b> we continue to consume these bodies as beautiful objects, but this time without guilt. They are, after all, only paper dolls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2006 SECA Art Awards show runs through April 11, 2007 at SFMOMA. \u003ca href=\"http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=252\" target=\"offsite\" rel=\"noopener\">More info\u003c/a> (at sfmoma.org).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "8 x 10 at Giant Robot | KQED",
"content": "\u003cp>Have you ever kept a diary? Have you ever kept a diary and found that it’s completely impossible to record the mundane events of your life in a linear way? This is what happens to me. I start writing all about how my trip to Walgreen’s enlightened me to the beauty of both 2 for 1 gummy bears and, you know, life, but pretty soon my pen is scrawling all about how I really need to replace that blinky light bulb in the kitchen, and making a list of all the cute clothes I’ll buy with my next paycheck.\u003c/p>\n\u003cp>My point is that rambling can be great, and for creative people, it’s impossible to avoid. When a writer rambles or an artist sketches, synapses fire in new ways. These beautiful combinations of thoughts and ideas and nonsensical impulses sometimes turn into the most truthful and observant pieces. That’s why sketch shows can be satisfying in ways that a collection of polished paintings can’t touch. Of course, sometimes sketching can be completely dull. There’s a reason why it’s a rough draft. But group sketch shows offer a wide enough variety to keep you pleasantly entertained by some of the sillier pieces, with a few of those little treasures guaranteed to crop up.\u003c/p>\n\u003cp>Giant Robot’s San Francisco gallery testifies to this idea with \u003cb>8 x 10,\u003c/b> a lively group sketch show with over 100 pieces from local artists. \u003ca href=\"http://www.drawingpostcards.com\" target=\"offsite\" rel=\"noopener\">Manny Silva\u003c/a>, a pal of mine from my days at CCA, contributed several pieces with his signature wistful charm and general loveliness. John Pham offered one knockout drawing daydream of peaceful stars and faces. Although there was no clear visual identity to quirky artist \u003ca href=\"http://www.mattfurie.com\" target=\"offsite\" rel=\"noopener\">Matt Furie\u003c/a>‘s work, his sketches consistently caught my eye. His elegiac “Fall Feelings” shows a naked skeleton under a similarly barren tree, as autumn leaves in the shape of skeletal hands fall to the ground. Furie’s hilarious “Gremlin Party,” a scene of day-glo monster-kids eating cake in party clothes, hit home in a way that made me re-examine my sweet childhood memories.\u003c/p>\n\u003cp>For the most part, \u003cb>8 x 10\u003c/b> does a good job of staying true to its democratic sketch theme, and doesn’t let any one artist’s work dominate with loud themes or too much polish. \u003ca href=\"http://www.aiyanaville.com\" target=\"offsite\" rel=\"noopener\">Aiyana Udesen\u003c/a>‘s drawings did push this boundary a bit, but only because I really wanted to see more of her work. With their fluorescent colors and witty punchlines, it was too tempting to scan the gallery just to find her next piece. Udesen drew loose portraits of our favorite pop star/trainwrecks Britney Spears (in her historic pre-bald days) and Lindsay Lohan. The shots she referenced are outrageous and unflattering — Lindsay cackles with her mouth wide open, and I don’t feel a need to explain the one entitled “Britney’s Butt.”\u003c/p>\n\u003cp>But Udesen surprises with her sense of humor about both her subjects and the fact that she’s bothering to further immortalize them with her art. In one, Britney’s face is spotted with bright red blotches, hovering over the title “Zitney Spears” and the apology “(She’s a Republican).” There’s the sense that Udesen can’t help but draw these annoying, ubiquitous pop brats, and that kind of honesty is exactly what sketch books are about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there are a lot of simple little pleasantries here, too. Susie Ghahremani offers ’70s-inspired marker drawings of birds and trees that would make Marcia Brady squeal with delight. Several pieces rely on the old, stylish cartoons with non-sequitur speech bubbles shtick. Their meanings are either lost to failed irony or inscrutable inside jokes, but they are at least fun to look at. I’m sad to report that those blank, big-eyed girls pop up in \u003ca href=\"http://www.kellytunstall.com\" target=\"offsite\" rel=\"noopener\">Kelly Tunstall\u003c/a>‘s contributions to the show. I officially wonder if I can ever hear the claim that work “explores femininity” without expecting yet another crop of these vacantly stylish zombies. Cynical? Please someone prove me wrong. I can’t help but liken this type of work to playing with Barbies on my bedroom carpet.\u003c/p>\n\u003cp>Sketch shows can be exciting with their quick peeks into what artists really think about when they think no one is watching. A good collection of random sketches can prove that rambling has its purpose and stopping in at Giant Robot’s gallery should at least convince you that the fruits can be fun and surprising. And if you need further proof, I have many fascinating thoughts on the merits of my new dish soap that I’d be happy to share…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>8 x 10\u003c/b> runs through March 14, 2007 at \u003ca href=\"http://www.gr-sf.com\" target=\"offsite\" rel=\"noopener\">Giant Robot\u003c/a> in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you ever kept a diary? Have you ever kept a diary and found that it’s completely impossible to record the mundane events of your life in a linear way? This is what happens to me. I start writing all about how my trip to Walgreen’s enlightened me to the beauty of both 2 for 1 gummy bears and, you know, life, but pretty soon my pen is scrawling all about how I really need to replace that blinky light bulb in the kitchen, and making a list of all the cute clothes I’ll buy with my next paycheck.\u003c/p>\n\u003cp>My point is that rambling can be great, and for creative people, it’s impossible to avoid. When a writer rambles or an artist sketches, synapses fire in new ways. These beautiful combinations of thoughts and ideas and nonsensical impulses sometimes turn into the most truthful and observant pieces. That’s why sketch shows can be satisfying in ways that a collection of polished paintings can’t touch. Of course, sometimes sketching can be completely dull. There’s a reason why it’s a rough draft. But group sketch shows offer a wide enough variety to keep you pleasantly entertained by some of the sillier pieces, with a few of those little treasures guaranteed to crop up.\u003c/p>\n\u003cp>Giant Robot’s San Francisco gallery testifies to this idea with \u003cb>8 x 10,\u003c/b> a lively group sketch show with over 100 pieces from local artists. \u003ca href=\"http://www.drawingpostcards.com\" target=\"offsite\" rel=\"noopener\">Manny Silva\u003c/a>, a pal of mine from my days at CCA, contributed several pieces with his signature wistful charm and general loveliness. John Pham offered one knockout drawing daydream of peaceful stars and faces. Although there was no clear visual identity to quirky artist \u003ca href=\"http://www.mattfurie.com\" target=\"offsite\" rel=\"noopener\">Matt Furie\u003c/a>‘s work, his sketches consistently caught my eye. His elegiac “Fall Feelings” shows a naked skeleton under a similarly barren tree, as autumn leaves in the shape of skeletal hands fall to the ground. Furie’s hilarious “Gremlin Party,” a scene of day-glo monster-kids eating cake in party clothes, hit home in a way that made me re-examine my sweet childhood memories.\u003c/p>\n\u003cp>For the most part, \u003cb>8 x 10\u003c/b> does a good job of staying true to its democratic sketch theme, and doesn’t let any one artist’s work dominate with loud themes or too much polish. \u003ca href=\"http://www.aiyanaville.com\" target=\"offsite\" rel=\"noopener\">Aiyana Udesen\u003c/a>‘s drawings did push this boundary a bit, but only because I really wanted to see more of her work. With their fluorescent colors and witty punchlines, it was too tempting to scan the gallery just to find her next piece. Udesen drew loose portraits of our favorite pop star/trainwrecks Britney Spears (in her historic pre-bald days) and Lindsay Lohan. The shots she referenced are outrageous and unflattering — Lindsay cackles with her mouth wide open, and I don’t feel a need to explain the one entitled “Britney’s Butt.”\u003c/p>\n\u003cp>But Udesen surprises with her sense of humor about both her subjects and the fact that she’s bothering to further immortalize them with her art. In one, Britney’s face is spotted with bright red blotches, hovering over the title “Zitney Spears” and the apology “(She’s a Republican).” There’s the sense that Udesen can’t help but draw these annoying, ubiquitous pop brats, and that kind of honesty is exactly what sketch books are about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, there are a lot of simple little pleasantries here, too. Susie Ghahremani offers ’70s-inspired marker drawings of birds and trees that would make Marcia Brady squeal with delight. Several pieces rely on the old, stylish cartoons with non-sequitur speech bubbles shtick. Their meanings are either lost to failed irony or inscrutable inside jokes, but they are at least fun to look at. I’m sad to report that those blank, big-eyed girls pop up in \u003ca href=\"http://www.kellytunstall.com\" target=\"offsite\" rel=\"noopener\">Kelly Tunstall\u003c/a>‘s contributions to the show. I officially wonder if I can ever hear the claim that work “explores femininity” without expecting yet another crop of these vacantly stylish zombies. Cynical? Please someone prove me wrong. I can’t help but liken this type of work to playing with Barbies on my bedroom carpet.\u003c/p>\n\u003cp>Sketch shows can be exciting with their quick peeks into what artists really think about when they think no one is watching. A good collection of random sketches can prove that rambling has its purpose and stopping in at Giant Robot’s gallery should at least convince you that the fruits can be fun and surprising. And if you need further proof, I have many fascinating thoughts on the merits of my new dish soap that I’d be happy to share…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>8 x 10\u003c/b> runs through March 14, 2007 at \u003ca href=\"http://www.gr-sf.com\" target=\"offsite\" rel=\"noopener\">Giant Robot\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greg \"Craola\" Simkins: Don't Sleep",
"headTitle": "Greg “Craola” Simkins: Don’t Sleep | KQED",
"content": "\u003cp> One of the most comforting things about a fairy tale is that it’s usually pretty easy to tell who the bad guys are. Gnarled faces, cackling laughs, abnormal love of black clothing, and enough ambitious, deeply evil schemes to make even a Bond villain take a moral pause — these are the not-so-subtle signs that certain characters can’t be trusted. Of course, this moral simplicity is also the fairy tale’s downfall, as kids are soon told that “real life” isn’t so clear-cut.\u003c/p>\n\u003cp>But as kids leave behind the black and white of fantasy, they also lose the genre’s enchantment: cool little elves, princesses, or miniature tree houses. This kind of magic isn’t any more realistic than the evildoer who announces himself through his creepy, glowing red eyeball, but really, it’s so much fun! There has to be a place for magic in the grown up world.\u003c/p>\n\u003cp>California artist Greg “Craola” Simkins brings his take on magic with adult complexity to the FIFTY24SF Gallery this month with the \u003cb>Don’t Sleep\u003c/b> show. This collection of paintings and drawings features the kind of elfin, impish creatures common in fairy tales, complete with an enchanted landscape of forests, butterflies, and dewy meadows.\u003c/p>\n\u003cp>But these aren’t sweet little frogs just waiting to be turned back into the prince who will then marry you and whisk you away to a life of castles and splendor. Actually, it’s better. These weird, twisted creatures have hints of darkness lurking behind them. They are awkward and gangly, with glowing yellow eyes and sullen faces. Simkins ups the complexity by placing his monster-sprites in elaborate and gorgeous worlds, under glowing dollops of ice cream sundae clouds, and posed in front of adorable cottages and treehouses.\u003c/p>\n\u003cp> This art could easily fall into the type of intentionally creepy, Ryden-esque art currently flooding galleries (and drowning my patience for one more painting of a big-eyed girl). But Simkins has much more to say with his work than the boring “that looks cool” pleasure so common in hipster art. Simkins is an expert at using intriguing symbols to both entertain and provoke the viewer. \u003cb>Don’t Sleep\u003c/b> exhibits his skill in not only turning the usual sweetie pie imagery of fantasy on its head, but in working an almost literary irony out of the symbols.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one painting a pensive demon, bright red cape pulled sullenly around his shoulders, perches pre or post-flight on the kind of gnarled tree branch seen most often as shade for a sleeping troll or mischievous band of leprechauns. Puffy, cute sheep are stacked in a tower gnawing on each other’s backs while a giant white jack-o-lantern in turns gnaws them. The pumpkin is clearly sinister, but its visual parallel to the big, round sheep invites us to look closer at the cute little animals. When we do, we see pink, bleary eyes and shifty gazes lurking in the poof of fluffy wool, and the painting takes on a new meaning.\u003c/p>\n\u003cp>Though most pieces read like portraits, there’s a sense that the subjects are in the midst of the classic magical journey. Creatures gaze from scenes so full of loving detail that you can’t help but feel there is a whole world that comes to life when the gallery closes for the night. Walking through the show, there’s an excitement at having caught the characters on their way to finding that fabled magic talisman, or breaking the evil spell. Most fairy tales treat this “ugly duckling” phase as the stepping stone, but Simkins settles in this territory. With his treatment, the journey is beautiful, and it’s refreshing to appreciate the tension and discovery in these transition moments.\u003c/p>\n\u003cp>Simkins gives irony back to the fairytale hero. His magical creatures seem more like bastardized mistakes; blends of normally cute parts into a strange little gremlin that can’t help but make you think, “ew.” My personal favorite was a bat-like creature in a Batman type costume with cape and insignia emblazoned across its chest. This curious little guy spoke to me — he looked so sad to be saddled with the hero costume. Was it that this mystical little player in a clearly enchanted world aspires to the easy heroism of Bruce Wayne? Or does he resent that in a magical world, there’s no choice but to be heroic? I can’t see yellow eyes and bat wings fitting into a suit and a desk job.\u003c/p>\n\u003cp>But I think Simkins’s world is open enough to mean different things to different people. And I’m willing to bet that no matter what the reaction, viewers will find it’s a pleasure just to be invited into \u003ca href=\"http://www.imscared.com\" target=\"offsite\" rel=\"noopener\">Simkins’s world\u003c/a> for a passing trip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Don’t Sleep\u003c/b> runs through February 24, 2007 at \u003ca href=\"http://www.fifty24sf.com\" target=\"_blank\" rel=\"noopener\">Upper Playground’s Fifty24SF Gallery\u003c/a> in San Francisco.\u003c/p>\n\n",
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"excerpt": " One of the most comforting things about a fairy tale is that it's usually pretty easy to tell who the bad guys are. Gnarled faces, cackling laughs, abnormal love of black clothing, and enough ambitious, deeply evil schemes to make even a Bond villain take a moral pause -- these are the not-so-subtle signs that certain characters can't be trusted. Of course, this moral simplicity is also the fairy tale's downfall, as kids are soon told that \"real life\" isn't so clear-cut.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> One of the most comforting things about a fairy tale is that it’s usually pretty easy to tell who the bad guys are. Gnarled faces, cackling laughs, abnormal love of black clothing, and enough ambitious, deeply evil schemes to make even a Bond villain take a moral pause — these are the not-so-subtle signs that certain characters can’t be trusted. Of course, this moral simplicity is also the fairy tale’s downfall, as kids are soon told that “real life” isn’t so clear-cut.\u003c/p>\n\u003cp>But as kids leave behind the black and white of fantasy, they also lose the genre’s enchantment: cool little elves, princesses, or miniature tree houses. This kind of magic isn’t any more realistic than the evildoer who announces himself through his creepy, glowing red eyeball, but really, it’s so much fun! There has to be a place for magic in the grown up world.\u003c/p>\n\u003cp>California artist Greg “Craola” Simkins brings his take on magic with adult complexity to the FIFTY24SF Gallery this month with the \u003cb>Don’t Sleep\u003c/b> show. This collection of paintings and drawings features the kind of elfin, impish creatures common in fairy tales, complete with an enchanted landscape of forests, butterflies, and dewy meadows.\u003c/p>\n\u003cp>But these aren’t sweet little frogs just waiting to be turned back into the prince who will then marry you and whisk you away to a life of castles and splendor. Actually, it’s better. These weird, twisted creatures have hints of darkness lurking behind them. They are awkward and gangly, with glowing yellow eyes and sullen faces. Simkins ups the complexity by placing his monster-sprites in elaborate and gorgeous worlds, under glowing dollops of ice cream sundae clouds, and posed in front of adorable cottages and treehouses.\u003c/p>\n\u003cp> This art could easily fall into the type of intentionally creepy, Ryden-esque art currently flooding galleries (and drowning my patience for one more painting of a big-eyed girl). But Simkins has much more to say with his work than the boring “that looks cool” pleasure so common in hipster art. Simkins is an expert at using intriguing symbols to both entertain and provoke the viewer. \u003cb>Don’t Sleep\u003c/b> exhibits his skill in not only turning the usual sweetie pie imagery of fantasy on its head, but in working an almost literary irony out of the symbols.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one painting a pensive demon, bright red cape pulled sullenly around his shoulders, perches pre or post-flight on the kind of gnarled tree branch seen most often as shade for a sleeping troll or mischievous band of leprechauns. Puffy, cute sheep are stacked in a tower gnawing on each other’s backs while a giant white jack-o-lantern in turns gnaws them. The pumpkin is clearly sinister, but its visual parallel to the big, round sheep invites us to look closer at the cute little animals. When we do, we see pink, bleary eyes and shifty gazes lurking in the poof of fluffy wool, and the painting takes on a new meaning.\u003c/p>\n\u003cp>Though most pieces read like portraits, there’s a sense that the subjects are in the midst of the classic magical journey. Creatures gaze from scenes so full of loving detail that you can’t help but feel there is a whole world that comes to life when the gallery closes for the night. Walking through the show, there’s an excitement at having caught the characters on their way to finding that fabled magic talisman, or breaking the evil spell. Most fairy tales treat this “ugly duckling” phase as the stepping stone, but Simkins settles in this territory. With his treatment, the journey is beautiful, and it’s refreshing to appreciate the tension and discovery in these transition moments.\u003c/p>\n\u003cp>Simkins gives irony back to the fairytale hero. His magical creatures seem more like bastardized mistakes; blends of normally cute parts into a strange little gremlin that can’t help but make you think, “ew.” My personal favorite was a bat-like creature in a Batman type costume with cape and insignia emblazoned across its chest. This curious little guy spoke to me — he looked so sad to be saddled with the hero costume. Was it that this mystical little player in a clearly enchanted world aspires to the easy heroism of Bruce Wayne? Or does he resent that in a magical world, there’s no choice but to be heroic? I can’t see yellow eyes and bat wings fitting into a suit and a desk job.\u003c/p>\n\u003cp>But I think Simkins’s world is open enough to mean different things to different people. And I’m willing to bet that no matter what the reaction, viewers will find it’s a pleasure just to be invited into \u003ca href=\"http://www.imscared.com\" target=\"offsite\" rel=\"noopener\">Simkins’s world\u003c/a> for a passing trip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Don’t Sleep\u003c/b> runs through February 24, 2007 at \u003ca href=\"http://www.fifty24sf.com\" target=\"_blank\" rel=\"noopener\">Upper Playground’s Fifty24SF Gallery\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Friday night Jack Hanley Gallery reeked of spray paint. Large-scale, multi-layered landscapes of painted paper combined with thick textured materials were the backdrop for subtly placed, fabric-scrap creatures with tiny patches of fake fur hair. The sardonic figures seemed to have been created accidentally, yet pointedly, as if the images were spontaneously thrown together and then figured out later. Like the studio mistake an artist suddenly realizes is brilliant, similar to when Pollock supposedly accidentally dripped paint on a canvas and instantly discovered his moneymaker.\u003c/p>\n\u003cp>Some of the paintings’ backgrounds were glossy and had lovely drippy streaks of metallic spray paint, which happens to be the most beautiful kind of spray paint ever. Easily missed in the crowded gallery was the fact that the little figures in the paintings had something pitiful and poetic to say. “It’s like looking in the mirror only you are a little smaller and I hate what I see,” was handwritten on a skinny strip of paper next to one of the hapless figures. Art school will lead you to believe that if you’re going to include text in your work, you better have a damn good reason. Here, the text made the paintings feel soulful and the artist seem like an empathetic smarty. Personally, the messages elicited a woeful emotional connection — an oddly reassuring reminder that frankly, everyone has to deal with the fact that life can be awfully sad sometimes.\u003c/p>\n\u003cp>Though the work touches upon despairing subjects, it does so with razor-sharp wit. It’s hard to avoid amusement when viewing a piece of artwork titled \u003cb>Watch It Sucker Now I Have Two Husbands\u003c/b>, even if the imagery has a lonesome feeling. Jon Pylypchuk is the artist in question, and he also works sculpturally. Two of his raggedy, three-dimensional creatures were on display with evil eyes attached to their black fabric heads. They had muted, multicolored cotton patchwork bodies and furry hair. The smaller figure’s legs were simple wooden sticks attached to its cloth body, but somehow its pose conveyed a ‘f**k off’ attitude. The other figure was bigger and urinating a molded yellow stream that landed in a puddle in front of the little guy, who was holding a beer can and standing in the aforementioned pose.\u003c/p>\n\u003cp>Through salty scrap art, Pylypchuk comments on the dark parts of the human condition. His materials are not expensive (mostly wood and fabric scraps and a lot of glue), but his scenes are delightfully creative and recall Chinese landscape paintings or epic storybook illustrations. I once heard the photographer Catherine Wagner say she was disappointed when her students would say their artwork was too financially difficult to realize and that a dedicated artist could make substantive work out of cardboard and masking tape. Pylypchuk is a perfect illustration of this notion. He is equal parts poet and artist, and his work glows with a lighthearted, punked-out seriousness. It’s not often you find word art, scrap art, and fine art holding hands and comforting one another, but Pylypchuk’s work provides the opportunity to witness this anomaly in action. He doesn’t often exhibit locally and unless you saw his international showings or his New York exhibit titled \u003cb>And Now Occasionally and Reluctantly I Lift My Head From Where it Usually Hangs in Shame\u003c/b>, this is probably your first opportunity to see his work up close. If only time travel was a reality and I could revisit 2005 to see his Los Angeles exhibit, \u003cb>You Won’t Live Past 30\u003c/b>.\u003c/p>\n\u003cp>Sad music is good. Sad art is even better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jon Pylypchuk is at Jack Hanley Gallery through February 24, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday night Jack Hanley Gallery reeked of spray paint. Large-scale, multi-layered landscapes of painted paper combined with thick textured materials were the backdrop for subtly placed, fabric-scrap creatures with tiny patches of fake fur hair. The sardonic figures seemed to have been created accidentally, yet pointedly, as if the images were spontaneously thrown together and then figured out later. Like the studio mistake an artist suddenly realizes is brilliant, similar to when Pollock supposedly accidentally dripped paint on a canvas and instantly discovered his moneymaker.\u003c/p>\n\u003cp>Some of the paintings’ backgrounds were glossy and had lovely drippy streaks of metallic spray paint, which happens to be the most beautiful kind of spray paint ever. Easily missed in the crowded gallery was the fact that the little figures in the paintings had something pitiful and poetic to say. “It’s like looking in the mirror only you are a little smaller and I hate what I see,” was handwritten on a skinny strip of paper next to one of the hapless figures. Art school will lead you to believe that if you’re going to include text in your work, you better have a damn good reason. Here, the text made the paintings feel soulful and the artist seem like an empathetic smarty. Personally, the messages elicited a woeful emotional connection — an oddly reassuring reminder that frankly, everyone has to deal with the fact that life can be awfully sad sometimes.\u003c/p>\n\u003cp>Though the work touches upon despairing subjects, it does so with razor-sharp wit. It’s hard to avoid amusement when viewing a piece of artwork titled \u003cb>Watch It Sucker Now I Have Two Husbands\u003c/b>, even if the imagery has a lonesome feeling. Jon Pylypchuk is the artist in question, and he also works sculpturally. Two of his raggedy, three-dimensional creatures were on display with evil eyes attached to their black fabric heads. They had muted, multicolored cotton patchwork bodies and furry hair. The smaller figure’s legs were simple wooden sticks attached to its cloth body, but somehow its pose conveyed a ‘f**k off’ attitude. The other figure was bigger and urinating a molded yellow stream that landed in a puddle in front of the little guy, who was holding a beer can and standing in the aforementioned pose.\u003c/p>\n\u003cp>Through salty scrap art, Pylypchuk comments on the dark parts of the human condition. His materials are not expensive (mostly wood and fabric scraps and a lot of glue), but his scenes are delightfully creative and recall Chinese landscape paintings or epic storybook illustrations. I once heard the photographer Catherine Wagner say she was disappointed when her students would say their artwork was too financially difficult to realize and that a dedicated artist could make substantive work out of cardboard and masking tape. Pylypchuk is a perfect illustration of this notion. He is equal parts poet and artist, and his work glows with a lighthearted, punked-out seriousness. It’s not often you find word art, scrap art, and fine art holding hands and comforting one another, but Pylypchuk’s work provides the opportunity to witness this anomaly in action. He doesn’t often exhibit locally and unless you saw his international showings or his New York exhibit titled \u003cb>And Now Occasionally and Reluctantly I Lift My Head From Where it Usually Hangs in Shame\u003c/b>, this is probably your first opportunity to see his work up close. If only time travel was a reality and I could revisit 2005 to see his Los Angeles exhibit, \u003cb>You Won’t Live Past 30\u003c/b>.\u003c/p>\n\u003cp>Sad music is good. Sad art is even better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sensacional! Mexican Street Graphics",
"headTitle": "Sensacional! Mexican Street Graphics | KQED",
"content": "\u003cp>There has been much smarty-pants speculation on what the Internet and our increased access to information means to society. Whenever I see these bloated “Here’s what it all means, children” type essays, I get a little embarrassed inside. I know that in a few years’ time, these articles will seem ridiculously pompous and out of touch — like 19th century articles claiming that the telegraph will make human speech irrelevant.\u003c/p>\n\u003cp>I get the feeling that, like me, a lot of people just get a big kick out of emailing each other\u003ca href=\"http://news.yahoo.com/photo/070129/480/wxs11201292359;_ylt=AivzdWICAEY9Hfbrk8WA9Q3q188F;_ylu=X3oDMTA4Y20zOW1jBHNlYwNtZXBo\" target=\"offsite\" rel=\"noopener\">baby animal pictures\u003c/a>, cool videos of \u003ca href=\"http://www.youtube.com/watch?v=5VeIL7juFE0\" target=\"offsite\" rel=\"noopener\"> dancing bears and lobster claws\u003c/a>, and certain teen wizards in \u003ca href=\"http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=432493&in_page_id=1773&ico=Homepage&icl=TabModule&icc=picbox&ct=5\" target=\"offsite\" rel=\"noopener\">newer, fleshier roles\u003c/a>. Unfortunately, this love of short-attention-span fun leaves us vulnerable to newscaster quips and flashy infographics — shiny stand-ins for real news or really exciting events. Like bobble heads. Nobody actually likes those. Or Super Bowl ads. In the week leading up to last sunday’s big game, I came across several actual news stories on this riveting nugget of current events: Extra! Sports events are often paired with advertising! I guess that makes them similar to, oh, pretty much every single thing on the planet.\u003c/p>\n\u003cp>Into this swirl of an increasingly advert-laden environment drops Yerba Buena Center for the Arts’ current exhibit,\u003cb>Sensacional! Mexican Street Graphics\u003c/b>. The show chronicles the look and feel of advertising South of the Border, as seen in murals, street parties, luchadores, and wheat paste flyers. Instead of slick, highly processed campaigns, individual artisans create hand-drawn masterpieces boasting anything from butcher shops,to car parts and public safety announcements. The painters often draft their work quickly and on the spot, so the art has all the charm of strange proportions and slightly wonky draftsmanship.\u003c/p>\n\u003cp>\u003cb>Sensacional! Mexican Street Graphics\u003c/b> runs through March 4, 2007 at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The absence of an industry to mastermind the ads means they rely on everyday imagery to catch attention. Symbols are used in a familiar, yet somehow still awkward, context — like the use of pregnant women to give a product the feel of “virtue,” even if that product is women’s lingerie. Since the “advertisers” are on the same level as the consumers, their tactics are incredibly direct. Ads for car parts show just that — straightforward paintings of the objects that read more like technical manuals in all their intricate detail. Can you remember the last time an ad for a product just simply showed you the thing with no bells and whistles?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this matter-of-factness can also be uncomfortable (read: hilarious) for American eyes used to the sparkly illusions of Madison Avenue. For instance, we’d never be able to handle a butcher shop ad featuring an angry, pants-wearing chicken slaughtering a smaller, terrified, pants-less chicken, or a standing pig stirring a big pot of human soup. And as these weird, wonderful little paintings point out, that’s a shame.\u003c/p>\n\u003cp>If there’s one thing Americans can relate to, though, it’s the co-opting of pop culture to push consumer goods. With Mexico’s laissez-faire copyright laws, celebrities and popular characters show up pretty much anywhere to make a sale — like the pizzeria sign where R2-D2 delivers a steaming pie. These ads possess all the novelty and appeal that corporate ad execs try so desperately to manufacture in their endless rotation of talking dogs or painfully cute kids with lisps. But these ideas succeed because they aren’t studied or sly, and carry no sense of a six-figure deal lurking behind in the background.\u003c/p>\n\u003cp>\u003cb>Sensacional!\u003c/b> is also a refreshing example of the creative potential of a gallery show. For one, most of the pieces are street photographs or anonymous reproductions. This frees the accompanying information panels to give earnest and amazingly non-condescending insight into Mexican culture. No egos to soothe, or oeuvres to reference. But the curating also has a definite tongue-in-cheek tone. One video was described as “kick-ass” in the same sentence that described rival videos as “insipid.” Curators designed interactive elements to recreate the feeling of randomly encountering these pieces on a street. A video about taxicab art invites viewers to sit and watch from a car seat.\u003c/p>\n\u003cp>But mostly, I see \u003cb>Sensacional!\u003c/b> as a golden opportunity for the general improvement of life on Earth. There’s no way to deny the simple elegance of a churro ad featuring a man looking sad while a thought bubble over his head shows him smiling as he munches on, guess what, a tasty churro! Is there really more to advertising than that? Can we just close the book on cartoon bees with annoying accents, beer-drinking birds that scream “Waaaassssssup,” and K-Fed?\u003c/p>\n\u003cp>Okay, maybe keep K-Fed around long enough for him to flame out in a blaze of Pay-Per-View, WWF, eBay auctions of personal items, and Made-for-TV movie glory. I’d like to see that. But let’s take some of the power away from advertisers in suits and focus groups making billions. Advertising can be art, but that usually happens when it focuses on communicating with people based on what they know, need, and like — not what obnoxious pandering can distract them and their pocketbooks for the longest amount of time. No matter what any disco-dancing monkey with a love of mac’n’cheese will tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>* Editorial note: After writing this review, it came to my attention that the publisher of \u003cb>Sensacional!\u003c/b> the book, is an imprint distributed by Chronicle Books, where I currently work a few days a week.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There has been much smarty-pants speculation on what the Internet and our increased access to information means to society. Whenever I see these bloated “Here’s what it all means, children” type essays, I get a little embarrassed inside. I know that in a few years’ time, these articles will seem ridiculously pompous and out of touch — like 19th century articles claiming that the telegraph will make human speech irrelevant.\u003c/p>\n\u003cp>I get the feeling that, like me, a lot of people just get a big kick out of emailing each other\u003ca href=\"http://news.yahoo.com/photo/070129/480/wxs11201292359;_ylt=AivzdWICAEY9Hfbrk8WA9Q3q188F;_ylu=X3oDMTA4Y20zOW1jBHNlYwNtZXBo\" target=\"offsite\" rel=\"noopener\">baby animal pictures\u003c/a>, cool videos of \u003ca href=\"http://www.youtube.com/watch?v=5VeIL7juFE0\" target=\"offsite\" rel=\"noopener\"> dancing bears and lobster claws\u003c/a>, and certain teen wizards in \u003ca href=\"http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=432493&in_page_id=1773&ico=Homepage&icl=TabModule&icc=picbox&ct=5\" target=\"offsite\" rel=\"noopener\">newer, fleshier roles\u003c/a>. Unfortunately, this love of short-attention-span fun leaves us vulnerable to newscaster quips and flashy infographics — shiny stand-ins for real news or really exciting events. Like bobble heads. Nobody actually likes those. Or Super Bowl ads. In the week leading up to last sunday’s big game, I came across several actual news stories on this riveting nugget of current events: Extra! Sports events are often paired with advertising! I guess that makes them similar to, oh, pretty much every single thing on the planet.\u003c/p>\n\u003cp>Into this swirl of an increasingly advert-laden environment drops Yerba Buena Center for the Arts’ current exhibit,\u003cb>Sensacional! Mexican Street Graphics\u003c/b>. The show chronicles the look and feel of advertising South of the Border, as seen in murals, street parties, luchadores, and wheat paste flyers. Instead of slick, highly processed campaigns, individual artisans create hand-drawn masterpieces boasting anything from butcher shops,to car parts and public safety announcements. The painters often draft their work quickly and on the spot, so the art has all the charm of strange proportions and slightly wonky draftsmanship.\u003c/p>\n\u003cp>\u003cb>Sensacional! Mexican Street Graphics\u003c/b> runs through March 4, 2007 at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The absence of an industry to mastermind the ads means they rely on everyday imagery to catch attention. Symbols are used in a familiar, yet somehow still awkward, context — like the use of pregnant women to give a product the feel of “virtue,” even if that product is women’s lingerie. Since the “advertisers” are on the same level as the consumers, their tactics are incredibly direct. Ads for car parts show just that — straightforward paintings of the objects that read more like technical manuals in all their intricate detail. Can you remember the last time an ad for a product just simply showed you the thing with no bells and whistles?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this matter-of-factness can also be uncomfortable (read: hilarious) for American eyes used to the sparkly illusions of Madison Avenue. For instance, we’d never be able to handle a butcher shop ad featuring an angry, pants-wearing chicken slaughtering a smaller, terrified, pants-less chicken, or a standing pig stirring a big pot of human soup. And as these weird, wonderful little paintings point out, that’s a shame.\u003c/p>\n\u003cp>If there’s one thing Americans can relate to, though, it’s the co-opting of pop culture to push consumer goods. With Mexico’s laissez-faire copyright laws, celebrities and popular characters show up pretty much anywhere to make a sale — like the pizzeria sign where R2-D2 delivers a steaming pie. These ads possess all the novelty and appeal that corporate ad execs try so desperately to manufacture in their endless rotation of talking dogs or painfully cute kids with lisps. But these ideas succeed because they aren’t studied or sly, and carry no sense of a six-figure deal lurking behind in the background.\u003c/p>\n\u003cp>\u003cb>Sensacional!\u003c/b> is also a refreshing example of the creative potential of a gallery show. For one, most of the pieces are street photographs or anonymous reproductions. This frees the accompanying information panels to give earnest and amazingly non-condescending insight into Mexican culture. No egos to soothe, or oeuvres to reference. But the curating also has a definite tongue-in-cheek tone. One video was described as “kick-ass” in the same sentence that described rival videos as “insipid.” Curators designed interactive elements to recreate the feeling of randomly encountering these pieces on a street. A video about taxicab art invites viewers to sit and watch from a car seat.\u003c/p>\n\u003cp>But mostly, I see \u003cb>Sensacional!\u003c/b> as a golden opportunity for the general improvement of life on Earth. There’s no way to deny the simple elegance of a churro ad featuring a man looking sad while a thought bubble over his head shows him smiling as he munches on, guess what, a tasty churro! Is there really more to advertising than that? Can we just close the book on cartoon bees with annoying accents, beer-drinking birds that scream “Waaaassssssup,” and K-Fed?\u003c/p>\n\u003cp>Okay, maybe keep K-Fed around long enough for him to flame out in a blaze of Pay-Per-View, WWF, eBay auctions of personal items, and Made-for-TV movie glory. I’d like to see that. But let’s take some of the power away from advertisers in suits and focus groups making billions. Advertising can be art, but that usually happens when it focuses on communicating with people based on what they know, need, and like — not what obnoxious pandering can distract them and their pocketbooks for the longest amount of time. No matter what any disco-dancing monkey with a love of mac’n’cheese will tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>* Editorial note: After writing this review, it came to my attention that the publisher of \u003cb>Sensacional!\u003c/b> the book, is an imprint distributed by Chronicle Books, where I currently work a few days a week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gray Area Gallery is a baby gallery, less than two months old. Their second exhibition, \u003cb>Sugar Sugar\u003c/b>, is cute and quirky and makes you want to pinch its cheeks. I was drawn to the group show because of Steven MacDonald, a local artist who creates stitched illustrations and sculptures on his Singer sewing machine. Three of MacDonald’s skateboard decks with embroidered fabric treatments were featured in the show, along with one of his embroidered cuckoo clocks with a design reminiscent of a paint-by-number book. A handful of framed works are also on display, including a tiny embroidered fawn in a gaudy gold frame. MacDonald uses a palette of metallic gold fabric and red thread that makes his work appear sumptuous and precious. Though it wasn’t included, he is famous for embroidering a fabric-covered, life-sized military tank.\u003c/p>\n\u003cp>For this textile-themed exhibit, Manuel “Gonz One” Gonzalez created a site-specific installation of his \u003cb>Audio Monsters\u003c/b>, creatures that look similar to the Japanese television character, Domo-kun, and are made of vinyl and fur with amplified speakers hidden in their mouths that hook up to iPods or radios. At the opening reception, the monsters served as speakers for the DJ — a true interdisciplinary collaboration.\u003c/p>\n\u003cp>Many of \u003cb>Sugar Sugar\u003c/b>‘s artists have creative day jobs. It’s nice to see what happens when a commercial artist has the opportunity to make art for the sake of art, rather than success or a paycheck. Fashion designer, Kylea Borges created large, thread-covered cocoons that were clunky and beautiful. Hannah Stouffer, a designer for the artsy t-shirt and wallet company, Poketo, created animal illustrations suggestive of Victorian fabric, and architect Stephanie Choo’s framed assemblage pieces incorporated soft, round forms rarely found in structural designs. Disappointingly, I missed two of the artists’ pieces — most of Katja Ollendorff’s abstract fabric works had been sold, and Chris Golden’s video installation was unavailable because he’d taken his projector home.\u003c/p>\n\u003cp>Scott Barry’s corner installation resembled an altar with an afghan blanket laid out in front of a television. Surrounding the T.V. were some vases with faces on them and the words, “Holy Ghost” painted on the wall in Spanish. It seems that all the recent group shows I’ve seen incorporate at least one of these meditation-type corner installations. I can’t tell if many artists are currently exploring this format, or if I’m just seeing Barry’s work all over the place.\u003c/p>\n\u003cp>A rebirth of L.A.’s Hear Gallery, Gray Area was opened last November by Josette Melchor and Carrie Martin. Holding it down underground in San Francisco, they strive to provide an all-inclusive “safe space” for artists and gallery crawlers. \u003cb>Sugar Sugar\u003c/b>‘s curator, Catherine Kaleel, seemed genuinely and justifiably proud of the new digs and gave me a tour of the resident artists’ studios and the newly painted roof mural. Nestled between Slim’s and the DNA Lounge, right above Bowzer’s Pizza Place, they’re open Wednesday through Saturday from 6:00pm to Midnight to dovetail with the hours of other nightlife venues on that particular SoMA block. For emerging collectors, Gray Area’s art is affordable, even on a teacher’s salary. The gallery also smells terrific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gray Area is like an undiscovered indie rock band. When their exhibits start selling out and blowing up, you can be one of those self-righteous people who say, “I was into them way before they were famous.” Gray Area is located at 371 11th Street in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hurry and check it out! \u003cb>Sugar Sugar\u003c/b>‘s closing reception is \u003cb>January 13, 2007\u003c/b>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gray Area Gallery is a baby gallery, less than two months old. Their second exhibition, \u003cb>Sugar Sugar\u003c/b>, is cute and quirky and makes you want to pinch its cheeks. I was drawn to the group show because of Steven MacDonald, a local artist who creates stitched illustrations and sculptures on his Singer sewing machine. Three of MacDonald’s skateboard decks with embroidered fabric treatments were featured in the show, along with one of his embroidered cuckoo clocks with a design reminiscent of a paint-by-number book. A handful of framed works are also on display, including a tiny embroidered fawn in a gaudy gold frame. MacDonald uses a palette of metallic gold fabric and red thread that makes his work appear sumptuous and precious. Though it wasn’t included, he is famous for embroidering a fabric-covered, life-sized military tank.\u003c/p>\n\u003cp>For this textile-themed exhibit, Manuel “Gonz One” Gonzalez created a site-specific installation of his \u003cb>Audio Monsters\u003c/b>, creatures that look similar to the Japanese television character, Domo-kun, and are made of vinyl and fur with amplified speakers hidden in their mouths that hook up to iPods or radios. At the opening reception, the monsters served as speakers for the DJ — a true interdisciplinary collaboration.\u003c/p>\n\u003cp>Many of \u003cb>Sugar Sugar\u003c/b>‘s artists have creative day jobs. It’s nice to see what happens when a commercial artist has the opportunity to make art for the sake of art, rather than success or a paycheck. Fashion designer, Kylea Borges created large, thread-covered cocoons that were clunky and beautiful. Hannah Stouffer, a designer for the artsy t-shirt and wallet company, Poketo, created animal illustrations suggestive of Victorian fabric, and architect Stephanie Choo’s framed assemblage pieces incorporated soft, round forms rarely found in structural designs. Disappointingly, I missed two of the artists’ pieces — most of Katja Ollendorff’s abstract fabric works had been sold, and Chris Golden’s video installation was unavailable because he’d taken his projector home.\u003c/p>\n\u003cp>Scott Barry’s corner installation resembled an altar with an afghan blanket laid out in front of a television. Surrounding the T.V. were some vases with faces on them and the words, “Holy Ghost” painted on the wall in Spanish. It seems that all the recent group shows I’ve seen incorporate at least one of these meditation-type corner installations. I can’t tell if many artists are currently exploring this format, or if I’m just seeing Barry’s work all over the place.\u003c/p>\n\u003cp>A rebirth of L.A.’s Hear Gallery, Gray Area was opened last November by Josette Melchor and Carrie Martin. Holding it down underground in San Francisco, they strive to provide an all-inclusive “safe space” for artists and gallery crawlers. \u003cb>Sugar Sugar\u003c/b>‘s curator, Catherine Kaleel, seemed genuinely and justifiably proud of the new digs and gave me a tour of the resident artists’ studios and the newly painted roof mural. Nestled between Slim’s and the DNA Lounge, right above Bowzer’s Pizza Place, they’re open Wednesday through Saturday from 6:00pm to Midnight to dovetail with the hours of other nightlife venues on that particular SoMA block. For emerging collectors, Gray Area’s art is affordable, even on a teacher’s salary. The gallery also smells terrific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Anselm Kiefer, Heaven and Earth",
"headTitle": "Anselm Kiefer, Heaven and Earth | KQED",
"content": "\u003cp>As I tried to dodge an enormous flying book, I fell into a rabbit hole and woke up in a burning attic. As I feverishly tried to escape the doomed structure, I noticed a wrecked plane surrounded by a fiery forest. After running through a medieval brick corridor, I found myself in a desolate, snowy field. A fallen angel lay in a pile of burnt, oil-soaked straw. As I stared at the angel, I stumbled into what must have been God’s bookcase. The books were huge and made of lead, bigger than me and punctured by meteorites. Star maps, long numbers and abstract poppies filled their pages. I noticed a flurry of specks flying toward a light in the distance, and as my eyes followed their path, I realized they were sunflower seeds flying to escape the tragic destruction behind us. I passed another airplane, not wrecked but abandoned. To my far right was an Egyptian pyramid radiating copper wire, and to my immediate right, a treacherous ocean furiously tossed a golden submarine about. It was as though the sky had cracked open and rained down upon the little boat, and it struggled to remain just below the waves. The waves were angry, tempered only by a subtly sexy and calming streak of purple light. I noticed another huge book and hurried past a starry sky to crawl inside its pages, hiding until the fight between Heaven and Earth subsided.\u003c/p>\n\u003cp>Nope, it wasn’t a dream.\u003c/p>\n\u003cp>It was my overactive imagination spurred by German artist, Anselm Kiefer’s current exhibit at the San Francisco Museum of Modern art, titled \u003cb>Heaven and Earth\u003c/b>. Dramatically laid out, the exhibit offers a seeming passage through another world. It begins with Kiefer’s \u003cb>Attic\u003c/b> series of drawings, created in the late seventies when he inhabited an old wooden schoolhouse. Using genuine charcoal (actual fire remnants), he rendered expansive images of wooden interiors and dead forests pierced with symbols of good and evil. The creeping transformation of Kiefer’s work starts to become evident in \u003cb>The Hierarchy of Angels\u003c/b>, an extra-large-scale wall piece created over two years in the eighties that incorporates a huge propeller and rough rocks made of curdled lead. It looked as if the burnt site of a plane crash had been ripped from the ground and hung on the wall.\u003c/p>\n\u003cp>Kiefer works with thick, endless layers of very specific media including oil, lead, burnt wood, plant material, straw, and clay. Heavily caking the material onto canvases, Kiefer creates life-sized landscapes that appear as though you could walk right into them. The pieces employ alternating images of life and death and call into question the viewer’s personal notions of microcosm versus macrocosm and the influence of the universe on humans. Though he uses plants and images of living organisms, they are presented in a wintry, desolate state. One enormous painting is flanked with a gargantuan dead sunflower at least 15 feet tall — a symbol of thriving life that once was.\u003c/p>\n\u003cp>The huge books made of lead are just as described — taller than the average human with slumping pages splayed open far enough to crawl inside. Kiefer uses masses of lead, a medium he acquired an enormous supply of when he purchased the roof of the Cologne Cathedral in France. I could’ve spent hours looking at two pieces titled \u003cb>6th Trumpet\u003c/b> and \u003cb>Leviathan\u003c/b>, which hung together toward the end of the exhibit. Like many of Kiefer’s wall pieces, I wanted to stare at them from far away, then see them up close, then soak them in from a distance again. I have now visited the exhibit three times and each time I’ve discovered new things about the work. Not to be missed are Kiefer’s smaller paintings. Equally as powerful as the larger pieces, they made me want to cry. With textured and uneven brushstrokes and empathetic titles such as \u003cb>Everyone Stands Under his Own Dome of Heaven\u003c/b> and \u003cb>To the Unknown Painter\u003c/b>, they seemed to converse with my soul.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of the exhibit, there is a short documentary about the artist. In the video, Kiefer admits that he wanted to be a poet, which makes sense since most of his pieces incorporate lovely handwritten text reminiscent of my grandmother’s script. He creates his work alone, “the old-fashioned way,” with his own hands and only calls upon assistants to help him lift things. He talks about a desire to create spiritual art that uses no material, which is fascinating since he currently uses material in excess. Though his toolkit is far from traditional, it is carefully chosen to create artistic arrangements that evoke interpersonal connections and provide meaning and symbolic dichotomy. In viewing the video piece, you will also learn how many trucks it took to get the roof of a cathedral to Kiefer’s studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Anselm Kiefer, Heaven and Earth\u003c/b> runs through January 21, 2007 at theSan 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>\u003cp>As I tried to dodge an enormous flying book, I fell into a rabbit hole and woke up in a burning attic. As I feverishly tried to escape the doomed structure, I noticed a wrecked plane surrounded by a fiery forest. After running through a medieval brick corridor, I found myself in a desolate, snowy field. A fallen angel lay in a pile of burnt, oil-soaked straw. As I stared at the angel, I stumbled into what must have been God’s bookcase. The books were huge and made of lead, bigger than me and punctured by meteorites. Star maps, long numbers and abstract poppies filled their pages. I noticed a flurry of specks flying toward a light in the distance, and as my eyes followed their path, I realized they were sunflower seeds flying to escape the tragic destruction behind us. I passed another airplane, not wrecked but abandoned. To my far right was an Egyptian pyramid radiating copper wire, and to my immediate right, a treacherous ocean furiously tossed a golden submarine about. It was as though the sky had cracked open and rained down upon the little boat, and it struggled to remain just below the waves. The waves were angry, tempered only by a subtly sexy and calming streak of purple light. I noticed another huge book and hurried past a starry sky to crawl inside its pages, hiding until the fight between Heaven and Earth subsided.\u003c/p>\n\u003cp>Nope, it wasn’t a dream.\u003c/p>\n\u003cp>It was my overactive imagination spurred by German artist, Anselm Kiefer’s current exhibit at the San Francisco Museum of Modern art, titled \u003cb>Heaven and Earth\u003c/b>. Dramatically laid out, the exhibit offers a seeming passage through another world. It begins with Kiefer’s \u003cb>Attic\u003c/b> series of drawings, created in the late seventies when he inhabited an old wooden schoolhouse. Using genuine charcoal (actual fire remnants), he rendered expansive images of wooden interiors and dead forests pierced with symbols of good and evil. The creeping transformation of Kiefer’s work starts to become evident in \u003cb>The Hierarchy of Angels\u003c/b>, an extra-large-scale wall piece created over two years in the eighties that incorporates a huge propeller and rough rocks made of curdled lead. It looked as if the burnt site of a plane crash had been ripped from the ground and hung on the wall.\u003c/p>\n\u003cp>Kiefer works with thick, endless layers of very specific media including oil, lead, burnt wood, plant material, straw, and clay. Heavily caking the material onto canvases, Kiefer creates life-sized landscapes that appear as though you could walk right into them. The pieces employ alternating images of life and death and call into question the viewer’s personal notions of microcosm versus macrocosm and the influence of the universe on humans. Though he uses plants and images of living organisms, they are presented in a wintry, desolate state. One enormous painting is flanked with a gargantuan dead sunflower at least 15 feet tall — a symbol of thriving life that once was.\u003c/p>\n\u003cp>The huge books made of lead are just as described — taller than the average human with slumping pages splayed open far enough to crawl inside. Kiefer uses masses of lead, a medium he acquired an enormous supply of when he purchased the roof of the Cologne Cathedral in France. I could’ve spent hours looking at two pieces titled \u003cb>6th Trumpet\u003c/b> and \u003cb>Leviathan\u003c/b>, which hung together toward the end of the exhibit. Like many of Kiefer’s wall pieces, I wanted to stare at them from far away, then see them up close, then soak them in from a distance again. I have now visited the exhibit three times and each time I’ve discovered new things about the work. Not to be missed are Kiefer’s smaller paintings. Equally as powerful as the larger pieces, they made me want to cry. With textured and uneven brushstrokes and empathetic titles such as \u003cb>Everyone Stands Under his Own Dome of Heaven\u003c/b> and \u003cb>To the Unknown Painter\u003c/b>, they seemed to converse with my soul.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the exhibit, there is a short documentary about the artist. In the video, Kiefer admits that he wanted to be a poet, which makes sense since most of his pieces incorporate lovely handwritten text reminiscent of my grandmother’s script. He creates his work alone, “the old-fashioned way,” with his own hands and only calls upon assistants to help him lift things. He talks about a desire to create spiritual art that uses no material, which is fascinating since he currently uses material in excess. Though his toolkit is far from traditional, it is carefully chosen to create artistic arrangements that evoke interpersonal connections and provide meaning and symbolic dichotomy. In viewing the video piece, you will also learn how many trucks it took to get the roof of a cathedral to Kiefer’s studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Anselm Kiefer, Heaven and Earth\u003c/b> runs through January 21, 2007 at theSan 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>The Museum of Craft & Design is a lovely little space tucked neatly to the side of Union Square on Stockton Street. This month, as a perfect respite from obligatory holiday shopping, stop by and enjoy the opportunity to “kick it” with one of Baltimore’s most revered artists, Joyce J. Scott. It was my first visit to the Museum of Craft & Design, and I found the building to be just as special as the work it showcases. The interior design of the space features exposed brick — appropriately revealing the structure and craftsmanship of the building — a seemingly direct comment on the fact that it is a craft AND design museum, rather than an art museum.\u003c/p>\n\u003cp>Scott’s work is considered craft but follows the current trend in contemporary art where pieces reinterpret universal meaning. She’s a pioneer in this field since she’s been at it for more than thirty years, and her retrospective exhibit has the power to educate and enlighten viewers. Using intricate beadwork, weaving, glass, photographs, and assemblage techniques, she expresses her thoughts on stereotypes, violence, and societal injustices. Her work appears playful and has a dry sense of humor, but her subject matter is serious and is rarely discussed in such a poignant manner.\u003c/p>\n\u003cp>One of the first pieces I noticed was titled \u003cb>Cuddly Black Dick I\u003c/b>. Sitting on a small, sweetly crafted wire bench, a female figure made of a porcelain doll’s head and a sky blue beaded body posed with her arm around a large penis made of iridescent black beads. The piece was unexpectedly frank and actually quite adorable. I read a quote in the programming guide that accompanies the exhibit where Scott points out that the phallus in a similar piece, \u003cb>Cuddly Black Dick III\u003c/b>, represents the woman’s husband or lover, “but when people who dislike this, or have one narrow view of what blacks are, see her, they see her with just a dick.” So, I’ll admit that at first I only saw a dick, but after reading further into the artist’s intentions, I had a new perspective and found myself reassessing my own notions of stereotypes.\u003c/p>\n\u003cp>Scott works with beads in a way that is very sculptural and sometimes painterly. The number of icons she recreates through beadwork is astounding: playing cards made of beads, scripted beads, beaded human figures, and one of her specialties — necklaces that incorporate photographs, beaded images, and Native American, Mexican, and African traditions. Another quote from the programming guide illustrates why Scott is an artist who’d be more than fun to kick it with — “I make jewelry to be worn. And if it tells about scary, icky subjects, then so much the better for the person who has the cojones to wear it in public.”\u003c/p>\n\u003cp>It’s impossible to pigeonhole Scott as an artist because she uses an array of media and presentation styles. She studied arts education and fine arts in Maryland and Mexico and is a storyteller in the true sense of the word. In the back of the museum, you will find a screen playing a two-minute excerpt from her performance piece, \u003cb>Genetic Interference: Genetic Engineering\u003c/b>, in which Scott dons one of her creations — a headdress made of baby-dolls, a shirt with a skull on it, and crazy glasses — and does a spoken word performance to give a better understanding of the messages conveyed in her artwork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the center gallery space, I stood dumbfounded and tried not to drool as I stared at an extraordinary wall hanging that incorporated weaving, quilting, and the richly colored extra-chunky yarn that I’m absolutely enamored with. I wanted to wrap myself up in the piece and roll around, then maybe ogle every inch of it carefully with a magnifying glass. It sounds insane, but anyone who has studied weaving will understand how I felt and recognize the incomparable level of skill and imagination involved in creating such a piece.\u003c/p>\n\u003cp>If the performances, sculptures, weavings, and wearable art pieces aren’t enough, Scott is also an outstanding printmaker, and a few of the lithographs from her \u003cb>Soul Erased\u003c/b> series are on display. The lithographs incorporate screen-printing and embossing to give them a multi-dimensional feeling. Most of the works in the series feature skeleton’s bodies with heads of flesh. One image was of a small child backed by wings made of guns — just one of Scott’s works that comments on youth violence. I sensed that Scott takes great care with her work, and all her pieces are carried out beautifully while they not so subtly remind the viewer of everything that is wrong with society. In the programming guide, she discusses being worried about youth desensitization with violence and says that she feels “a responsibility living in a land where this is happening” and her artwork conveys her active and thoughtful comments on violence, among other issues.\u003c/p>\n\u003cp>I read that Scott aims to “incite people to look and then carry something home — even if it’s subliminal, that might make them change.” Before I left the museum, I witnessed a direct connection between the artist’s intentions and a viewer’s experience, when I read a handwritten message on a hot pink post-it note on the museum’s comment wall that said “You have transformed a past world of darkness and pain into something more meaningful and bright.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Kickin’ it with Joyce J. Scott\u003c/b> runs through January 7, 2007 at the Museum of Craft and Design, 550 Stockton Street in San Francisco. Additional jewelry creations by Joyce J. Scott are on display at \u003ca href=\"http://www.velvetdavinci.com\" target=\"offsite\" rel=\"noopener\">Velvet Da Vinci\u003c/a> on Polk Street through December 31, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Museum of Craft & Design is a lovely little space tucked neatly to the side of Union Square on Stockton Street. This month, as a perfect respite from obligatory holiday shopping, stop by and enjoy the opportunity to “kick it” with one of Baltimore’s most revered artists, Joyce J. Scott. It was my first visit to the Museum of Craft & Design, and I found the building to be just as special as the work it showcases. The interior design of the space features exposed brick — appropriately revealing the structure and craftsmanship of the building — a seemingly direct comment on the fact that it is a craft AND design museum, rather than an art museum.\u003c/p>\n\u003cp>Scott’s work is considered craft but follows the current trend in contemporary art where pieces reinterpret universal meaning. She’s a pioneer in this field since she’s been at it for more than thirty years, and her retrospective exhibit has the power to educate and enlighten viewers. Using intricate beadwork, weaving, glass, photographs, and assemblage techniques, she expresses her thoughts on stereotypes, violence, and societal injustices. Her work appears playful and has a dry sense of humor, but her subject matter is serious and is rarely discussed in such a poignant manner.\u003c/p>\n\u003cp>One of the first pieces I noticed was titled \u003cb>Cuddly Black Dick I\u003c/b>. Sitting on a small, sweetly crafted wire bench, a female figure made of a porcelain doll’s head and a sky blue beaded body posed with her arm around a large penis made of iridescent black beads. The piece was unexpectedly frank and actually quite adorable. I read a quote in the programming guide that accompanies the exhibit where Scott points out that the phallus in a similar piece, \u003cb>Cuddly Black Dick III\u003c/b>, represents the woman’s husband or lover, “but when people who dislike this, or have one narrow view of what blacks are, see her, they see her with just a dick.” So, I’ll admit that at first I only saw a dick, but after reading further into the artist’s intentions, I had a new perspective and found myself reassessing my own notions of stereotypes.\u003c/p>\n\u003cp>Scott works with beads in a way that is very sculptural and sometimes painterly. The number of icons she recreates through beadwork is astounding: playing cards made of beads, scripted beads, beaded human figures, and one of her specialties — necklaces that incorporate photographs, beaded images, and Native American, Mexican, and African traditions. Another quote from the programming guide illustrates why Scott is an artist who’d be more than fun to kick it with — “I make jewelry to be worn. And if it tells about scary, icky subjects, then so much the better for the person who has the cojones to wear it in public.”\u003c/p>\n\u003cp>It’s impossible to pigeonhole Scott as an artist because she uses an array of media and presentation styles. She studied arts education and fine arts in Maryland and Mexico and is a storyteller in the true sense of the word. In the back of the museum, you will find a screen playing a two-minute excerpt from her performance piece, \u003cb>Genetic Interference: Genetic Engineering\u003c/b>, in which Scott dons one of her creations — a headdress made of baby-dolls, a shirt with a skull on it, and crazy glasses — and does a spoken word performance to give a better understanding of the messages conveyed in her artwork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the center gallery space, I stood dumbfounded and tried not to drool as I stared at an extraordinary wall hanging that incorporated weaving, quilting, and the richly colored extra-chunky yarn that I’m absolutely enamored with. I wanted to wrap myself up in the piece and roll around, then maybe ogle every inch of it carefully with a magnifying glass. It sounds insane, but anyone who has studied weaving will understand how I felt and recognize the incomparable level of skill and imagination involved in creating such a piece.\u003c/p>\n\u003cp>If the performances, sculptures, weavings, and wearable art pieces aren’t enough, Scott is also an outstanding printmaker, and a few of the lithographs from her \u003cb>Soul Erased\u003c/b> series are on display. The lithographs incorporate screen-printing and embossing to give them a multi-dimensional feeling. Most of the works in the series feature skeleton’s bodies with heads of flesh. One image was of a small child backed by wings made of guns — just one of Scott’s works that comments on youth violence. I sensed that Scott takes great care with her work, and all her pieces are carried out beautifully while they not so subtly remind the viewer of everything that is wrong with society. In the programming guide, she discusses being worried about youth desensitization with violence and says that she feels “a responsibility living in a land where this is happening” and her artwork conveys her active and thoughtful comments on violence, among other issues.\u003c/p>\n\u003cp>I read that Scott aims to “incite people to look and then carry something home — even if it’s subliminal, that might make them change.” Before I left the museum, I witnessed a direct connection between the artist’s intentions and a viewer’s experience, when I read a handwritten message on a hot pink post-it note on the museum’s comment wall that said “You have transformed a past world of darkness and pain into something more meaningful and bright.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Kickin’ it with Joyce J. Scott\u003c/b> runs through January 7, 2007 at the Museum of Craft and Design, 550 Stockton Street in San Francisco. Additional jewelry creations by Joyce J. Scott are on display at \u003ca href=\"http://www.velvetdavinci.com\" target=\"offsite\" rel=\"noopener\">Velvet Da Vinci\u003c/a> on Polk Street through December 31, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dancing rivers, a field of mustard flowers, a love letter, and a coral reef are some of the lustrous images gracing the walls of Micaëla Gallery this month. Produced on stainless steel canvases coated with synthetic resin and pigment, Christo Braun’s provocative and avant-garde works of art are labeled as paintings, which can be misleading — they are actually comprised of a unique mixed-media combination that does not include typical painting media. Inspired by nature in all its forms and the emotional imagery nature often displays, Braun’s work neatly balances on the line between abstract and representational art, and invokes an extended gaze.\u003c/p>\n\u003cp>Since the 2005 exhibition of his \u003cb>Open Water\u003c/b> series, Braun’s work has become more emotionally charged. His muse is his late wife, Deborah Gibbon, a dear friend and mentor of mine and the dynamic originator of the educational platform for KQED’s Spark program. She was also an accomplished artist, and the two supported one another wholeheartedly. In dealing with the recent loss of his beloved and inspirational partner, Braun told me that putting together his new exhibit was the second hardest thing he’d ever done in his life. When one is familiar with the conditions under which he created his new series, the dimensions of Braun’s work become more powerful — both visually and viscerally.\u003c/p>\n\u003cp>His work provides a reflective viewing experience inherent in using both stainless steel and mirrored tiles as the backgrounds for his paintings. Surrounding light sources and viewers’ images and movements are reflected in the specialized canvases, fulfilling the ever-present desire of artists to draw the audience and the environment into the work. The mirroring effect adds a feeling of energy that is equally as important as the actual images.\u003c/p>\n\u003cp>When an artist’s body of work is as solidified as Braun’s, a viewer might assume that the artist has found his niche after years of perfecting a particular style. Though Braun has built a career through his resin paintings, which have been collected internationally, he has also been successful in many other avenues — as a carpenter, sculptor, designer, photographer, and writer. Also impressive to note is the technique and skill required to work with synthetic resin, a moody medium that behaves erratically, with a setting process heavily dependent on specific weather conditions and a precise chemical balance.\u003c/p>\n\u003cp>Braun’s controlled yet impassioned hand is obvious in his work. His paintings are abstract, but can seem impossibly close to a glorified representation of their natural subjects. The river paintings seem in constant flux, and the Coral Reef image appears to wave back and forth with the tides. Made up of deep sapphire blues and purples with swelling white waves, \u003cb>Seachange\u003c/b> and \u003cb>Riverflow\u003c/b> maintain an unmatched depth and sensation of velocity, while the exhibit’s anchor work, \u003cb>Riverdance\u003c/b>, gives the appearance of an underwater perspective. Several of the pieces in Braun’s 2005 exhibit had a more uniform turquoise-based color palette reflective of open expanses of water, but his 2006 series explores the lushly broad range of all of nature’s hues. The surface treatment has a gem-like quality and the colors are intensely sensuous and glossy, bringing to mind a variety of comparisons such as molten lava, melting candy, and bright lights reflected on wet pavement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Braun’s work can be compared to certain impressionist and abstract expressionist painters, but his successful manipulation of fluctuating media sets him apart from other artists. With a remarkable use of color that is intensely rich, many of the pieces draw upon the tones of the bluest tropical oceans and the brightest oranges and reds of an impetuous flame. It is challenging to reproduce the piercing colors found only in nature, and he meets that challenge through his use of materials and his keen eye for harmonizing color.\u003c/p>\n\u003cp>The exhibit also provides evidence that art has the power to be therapeutic for both the artist and viewer. Through the nightmare of a sudden and horrifying loss, Braun directed his artistic talent to channel his grief and produced beautifully rendered images from which emanate the true nature and spirit of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Christo Braun\u003c/b> exhibition runs through December 1, 2006 at the Micaëla Gallery.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dancing rivers, a field of mustard flowers, a love letter, and a coral reef are some of the lustrous images gracing the walls of Micaëla Gallery this month. Produced on stainless steel canvases coated with synthetic resin and pigment, Christo Braun’s provocative and avant-garde works of art are labeled as paintings, which can be misleading — they are actually comprised of a unique mixed-media combination that does not include typical painting media. Inspired by nature in all its forms and the emotional imagery nature often displays, Braun’s work neatly balances on the line between abstract and representational art, and invokes an extended gaze.\u003c/p>\n\u003cp>Since the 2005 exhibition of his \u003cb>Open Water\u003c/b> series, Braun’s work has become more emotionally charged. His muse is his late wife, Deborah Gibbon, a dear friend and mentor of mine and the dynamic originator of the educational platform for KQED’s Spark program. She was also an accomplished artist, and the two supported one another wholeheartedly. In dealing with the recent loss of his beloved and inspirational partner, Braun told me that putting together his new exhibit was the second hardest thing he’d ever done in his life. When one is familiar with the conditions under which he created his new series, the dimensions of Braun’s work become more powerful — both visually and viscerally.\u003c/p>\n\u003cp>His work provides a reflective viewing experience inherent in using both stainless steel and mirrored tiles as the backgrounds for his paintings. Surrounding light sources and viewers’ images and movements are reflected in the specialized canvases, fulfilling the ever-present desire of artists to draw the audience and the environment into the work. The mirroring effect adds a feeling of energy that is equally as important as the actual images.\u003c/p>\n\u003cp>When an artist’s body of work is as solidified as Braun’s, a viewer might assume that the artist has found his niche after years of perfecting a particular style. Though Braun has built a career through his resin paintings, which have been collected internationally, he has also been successful in many other avenues — as a carpenter, sculptor, designer, photographer, and writer. Also impressive to note is the technique and skill required to work with synthetic resin, a moody medium that behaves erratically, with a setting process heavily dependent on specific weather conditions and a precise chemical balance.\u003c/p>\n\u003cp>Braun’s controlled yet impassioned hand is obvious in his work. His paintings are abstract, but can seem impossibly close to a glorified representation of their natural subjects. The river paintings seem in constant flux, and the Coral Reef image appears to wave back and forth with the tides. Made up of deep sapphire blues and purples with swelling white waves, \u003cb>Seachange\u003c/b> and \u003cb>Riverflow\u003c/b> maintain an unmatched depth and sensation of velocity, while the exhibit’s anchor work, \u003cb>Riverdance\u003c/b>, gives the appearance of an underwater perspective. Several of the pieces in Braun’s 2005 exhibit had a more uniform turquoise-based color palette reflective of open expanses of water, but his 2006 series explores the lushly broad range of all of nature’s hues. The surface treatment has a gem-like quality and the colors are intensely sensuous and glossy, bringing to mind a variety of comparisons such as molten lava, melting candy, and bright lights reflected on wet pavement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Braun’s work can be compared to certain impressionist and abstract expressionist painters, but his successful manipulation of fluctuating media sets him apart from other artists. With a remarkable use of color that is intensely rich, many of the pieces draw upon the tones of the bluest tropical oceans and the brightest oranges and reds of an impetuous flame. It is challenging to reproduce the piercing colors found only in nature, and he meets that challenge through his use of materials and his keen eye for harmonizing color.\u003c/p>\n\u003cp>The exhibit also provides evidence that art has the power to be therapeutic for both the artist and viewer. Through the nightmare of a sudden and horrifying loss, Braun directed his artistic talent to channel his grief and produced beautifully rendered images from which emanate the true nature and spirit of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Christo Braun\u003c/b> exhibition runs through December 1, 2006 at the Micaëla Gallery.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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