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"content": "\u003cp>“Look at the earrings on that giraffe” is not a phrase one often overhears at an art opening, and the fact that I heard it uttered at David Hevel’s new exhibit, \u003cb>Fierce\u003c/b>, was only one of the many reasons why the show was “off the chain,” as the kids are saying these days. Where, oh where, do I begin? I entered the packed gallery to hear Justin Timberlake rocking everyone’s body over the speakers and stopped dead in my tracks to gawk at a seven-foot-tall sculpture of a realistic life-sized tiger rearing up on its hind legs in a giant pot of cascading faux flora and huge glittery gold butterflies. For a moment, it was like nobody else was in the room — just Beyoncé’s animal likeness and me. Fantastically overwhelming, forcibly glee inducing, and straight up hilarious, the tiger was mesmerizing. The pedestal-like flowerpot overflowed with giant gardenias, birds of paradise, and greenery so lush I didn’t even notice the gaudy fakeness of it all. It felt like walking around Liz Taylor’s Animal Safari. Lily pads among iridescent aqua-blue puddles and two swans surrounded the tiger, its jaws dripping with sticky golden drool, off-setting its long brunette wig, ostentatious crystal necklaces, and wildly humanistic eyes.\u003c/p>\n\u003cp>About to be pounced upon by the tiger was Mariah Carey as a goat standing precariously on piles of small silk pillows. I noticed happily that Mariah’s teeth seemed a bit pearlescent. Oakland-based Hevel, whom I had the pleasure of meeting, said the goat, though life-sized, was not so true to form. He mentioned something about the head looking better closer to the hip so he’d cut out part of the body. I nodded as if I knew all about reconstructive surgery for farm animals.\u003c/p>\n\u003cp>Also draped in jewels and radiating sparkly golden butterflies, Mariah gazed across the gallery at a tiny gold-leafed deer called \u003cb>Little Lord Suri\u003c/b>, representing the incredibly hyped, already super-famous child of Tom Cruise and Katie Holmes. I told Hevel the Suri piece was extremely timely since her photos had been released by Vanity Fair the previous day — Hevel admitted he wished he’d brought a tiny black wig to add to the baby deer so she’d look more like Hollywood’s newest “It” Girl.\u003c/p>\n\u003cp>The gallery also displays pigment prints of Hevel’s other celebrity baby sculptures, including a stunning example called \u003cb>Big Anna (Baby Nicole)\u003c/b>. The baby portraits are reminiscent of 18th century French paintings, though instead of nude women or Napoleon, they feature exotic looking animals dressed in fur, sitting in lushly staged environments. One portrait I loved in particular was a doe-eyed, silly-looking Bambi sitting among ferns and toadstools.\u003c/p>\n\u003cp>Hevel was in a show called \u003cb>Nancy Boy\u003c/b> at the Richmond Art Center earlier this year that involved male artists commenting on feminism, a feat he accomplishes brilliantly. And aside from Andy Warhol and Jeff Koons, I haven’t seen many artists commenting on the world’s obsession with celebrity status. Hevel’s symbolism is flawless and his work is equal parts glamour, humor, and hideousness. He uses Styrofoam taxidermy forms to create his celebrity creatures and buys animal skins at a place called Hollywood Love Rug, then dyes them to look like the appropriate hide. The work is not about animal preservation or glorification, Hevel has no interest in taxidermy, he simply draws attention to the overly accessorized jungle that is Hollywood. But Hevel isn’t aiming to criticize his famous subjects; he merely puts a freshly hilarious spin on the already spun images of the celebrity set that permeate the media. Because celebrities are made out to be larger-than-life and better-than-your-average-human, glamorized animals seemed the perfect way to represent them. And think of how fun it would be to take Hevel’s craft to the next level, dressing up enormous exotic pets with all the Neil Lane jewels and extravagant hair extensions you could get your hands on. I sense a new hobby for absurdly rich girls everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I smiled throughout my tour of Hevel’s exhibit. Not only did I have a chance to meet and chat with the artist, who was very nice and forthcoming and not at all pretentious as he toted one of his two tiny children around his exhibit, but I relished viewing work that aimed to be funny. Artists are all desperately trying to communicate something, but usually it’s something of a more serious nature. When asked what his kids thought of his work, Hevel laughed and said they definitely had opinions and would tell him what they liked and what looked scary. He also admitted that walking down the street, one of his children might pick up a rogue silk flower and ask if Hevel wanted it for his art. He noted that it was a little freaky that the kids — neither much older than Suri — were already picking up on his style.\u003c/p>\n\u003cp>Hevel’s \u003cb>Love Angel Music Baby\u003c/b> sculpture was around a corner in the back of the gallery and was absent of an animal form save for a mountain lion’s tongue and teeth that protruded from stacked bird baths spilling over with flowers, tiny pink birds, blonde locks of hair, and an impressively enormous plastic pink diamond. Appropriately, Gwen Stefani happened to be on the stereo singing about having expensive taste as I stared at the garishly gorgeous piece.\u003c/p>\n\u003cp>Fierce is a word Tyra Banks uses every chance she gets on her ruthlessly intellectually stimulating reality show, \u003cb>America’s Next Top Model\u003c/b>. It’s become her trademark statement and inspired the title and central piece of Hevel’s exhibit — the giraffe I mentioned earlier. Towering above the gallery at twelve feet, the giraffe’s head and neck protrude from the wall and giant ants on the floor trail its long beaded necklaces. Framed by plants and orange and red flowers, the giraffe wore humongous hoop earrings had at least two feet of shells dangling from them — in a word, amazing. Hevel says his work sells well and he’s often surprised at what people will buy for their homes. He said his wife has minimalist taste and his sculptures don’t decorate their living space. Like a fabulously glamorized hunter’s den, or collaboration between The Natural History Museum and a Las Vegas showgirl, Hevel’s exhibit is like nothing you’ve seen before. And, as Paris Hilton* would say, that’s hot. \u003c/p>\n\u003cp>*Hevel also has a Paris Hilton sculpture that was unfortunately damaged and not in the show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>David Hevel: \u003cb>Fierce\u003c/b> runs through October 14, 2006 at \u003ca href=\"http://www.heathermarxgallery.com/\">Heather Marx Gallery\u003c/a>, 77 Geary Street, Second Floor in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Look at the earrings on that giraffe” is not a phrase one often overhears at an art opening, and the fact that I heard it uttered at David Hevel’s new exhibit, \u003cb>Fierce\u003c/b>, was only one of the many reasons why the show was “off the chain,” as the kids are saying these days. Where, oh where, do I begin? I entered the packed gallery to hear Justin Timberlake rocking everyone’s body over the speakers and stopped dead in my tracks to gawk at a seven-foot-tall sculpture of a realistic life-sized tiger rearing up on its hind legs in a giant pot of cascading faux flora and huge glittery gold butterflies. For a moment, it was like nobody else was in the room — just Beyoncé’s animal likeness and me. Fantastically overwhelming, forcibly glee inducing, and straight up hilarious, the tiger was mesmerizing. The pedestal-like flowerpot overflowed with giant gardenias, birds of paradise, and greenery so lush I didn’t even notice the gaudy fakeness of it all. It felt like walking around Liz Taylor’s Animal Safari. Lily pads among iridescent aqua-blue puddles and two swans surrounded the tiger, its jaws dripping with sticky golden drool, off-setting its long brunette wig, ostentatious crystal necklaces, and wildly humanistic eyes.\u003c/p>\n\u003cp>About to be pounced upon by the tiger was Mariah Carey as a goat standing precariously on piles of small silk pillows. I noticed happily that Mariah’s teeth seemed a bit pearlescent. Oakland-based Hevel, whom I had the pleasure of meeting, said the goat, though life-sized, was not so true to form. He mentioned something about the head looking better closer to the hip so he’d cut out part of the body. I nodded as if I knew all about reconstructive surgery for farm animals.\u003c/p>\n\u003cp>Also draped in jewels and radiating sparkly golden butterflies, Mariah gazed across the gallery at a tiny gold-leafed deer called \u003cb>Little Lord Suri\u003c/b>, representing the incredibly hyped, already super-famous child of Tom Cruise and Katie Holmes. I told Hevel the Suri piece was extremely timely since her photos had been released by Vanity Fair the previous day — Hevel admitted he wished he’d brought a tiny black wig to add to the baby deer so she’d look more like Hollywood’s newest “It” Girl.\u003c/p>\n\u003cp>The gallery also displays pigment prints of Hevel’s other celebrity baby sculptures, including a stunning example called \u003cb>Big Anna (Baby Nicole)\u003c/b>. The baby portraits are reminiscent of 18th century French paintings, though instead of nude women or Napoleon, they feature exotic looking animals dressed in fur, sitting in lushly staged environments. One portrait I loved in particular was a doe-eyed, silly-looking Bambi sitting among ferns and toadstools.\u003c/p>\n\u003cp>Hevel was in a show called \u003cb>Nancy Boy\u003c/b> at the Richmond Art Center earlier this year that involved male artists commenting on feminism, a feat he accomplishes brilliantly. And aside from Andy Warhol and Jeff Koons, I haven’t seen many artists commenting on the world’s obsession with celebrity status. Hevel’s symbolism is flawless and his work is equal parts glamour, humor, and hideousness. He uses Styrofoam taxidermy forms to create his celebrity creatures and buys animal skins at a place called Hollywood Love Rug, then dyes them to look like the appropriate hide. The work is not about animal preservation or glorification, Hevel has no interest in taxidermy, he simply draws attention to the overly accessorized jungle that is Hollywood. But Hevel isn’t aiming to criticize his famous subjects; he merely puts a freshly hilarious spin on the already spun images of the celebrity set that permeate the media. Because celebrities are made out to be larger-than-life and better-than-your-average-human, glamorized animals seemed the perfect way to represent them. And think of how fun it would be to take Hevel’s craft to the next level, dressing up enormous exotic pets with all the Neil Lane jewels and extravagant hair extensions you could get your hands on. I sense a new hobby for absurdly rich girls everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I smiled throughout my tour of Hevel’s exhibit. Not only did I have a chance to meet and chat with the artist, who was very nice and forthcoming and not at all pretentious as he toted one of his two tiny children around his exhibit, but I relished viewing work that aimed to be funny. Artists are all desperately trying to communicate something, but usually it’s something of a more serious nature. When asked what his kids thought of his work, Hevel laughed and said they definitely had opinions and would tell him what they liked and what looked scary. He also admitted that walking down the street, one of his children might pick up a rogue silk flower and ask if Hevel wanted it for his art. He noted that it was a little freaky that the kids — neither much older than Suri — were already picking up on his style.\u003c/p>\n\u003cp>Hevel’s \u003cb>Love Angel Music Baby\u003c/b> sculpture was around a corner in the back of the gallery and was absent of an animal form save for a mountain lion’s tongue and teeth that protruded from stacked bird baths spilling over with flowers, tiny pink birds, blonde locks of hair, and an impressively enormous plastic pink diamond. Appropriately, Gwen Stefani happened to be on the stereo singing about having expensive taste as I stared at the garishly gorgeous piece.\u003c/p>\n\u003cp>Fierce is a word Tyra Banks uses every chance she gets on her ruthlessly intellectually stimulating reality show, \u003cb>America’s Next Top Model\u003c/b>. It’s become her trademark statement and inspired the title and central piece of Hevel’s exhibit — the giraffe I mentioned earlier. Towering above the gallery at twelve feet, the giraffe’s head and neck protrude from the wall and giant ants on the floor trail its long beaded necklaces. Framed by plants and orange and red flowers, the giraffe wore humongous hoop earrings had at least two feet of shells dangling from them — in a word, amazing. Hevel says his work sells well and he’s often surprised at what people will buy for their homes. He said his wife has minimalist taste and his sculptures don’t decorate their living space. Like a fabulously glamorized hunter’s den, or collaboration between The Natural History Museum and a Las Vegas showgirl, Hevel’s exhibit is like nothing you’ve seen before. And, as Paris Hilton* would say, that’s hot. \u003c/p>\n\u003cp>*Hevel also has a Paris Hilton sculpture that was unfortunately damaged and not in the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David Hevel: \u003cb>Fierce\u003c/b> runs through October 14, 2006 at \u003ca href=\"http://www.heathermarxgallery.com/\">Heather Marx Gallery\u003c/a>, 77 Geary Street, Second Floor in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cosmic Wonder and Sampling Oakland at YBCA",
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"content": "\u003cp>A group art exhibit is like a mix tape. None of the artists created their work with the intention of having it displayed right next to another artist’s work. Even when the pieces are displayed in the same gallery, it is challenging to find a common thread. Much more difficult than writing about one artist’s body of work, it’s like writing about the very small exhibitions of too many artists, so I have wholeheartedly been avoiding writing about group shows until now.\u003c/p>\n\u003cp>I was wary when a row of life-sized human figures shrouded in white greeted me at the \u003cb>Cosmic Wonder\u003c/b> show at Yerba Buena Center for the Arts — maybe because they were standing in piles of broken bottles, or maybe because I caught a glimpse of their small creepy hands through the white fabric that covered them. A nearby vase of white felt flowers that was taller than me made me wonder if the exhibit — put together by guest curator Betty Nguyen — should have been called \u003cb>Bleached Wonder\u003c/b> instead.\u003c/p>\n\u003cp>But beyond the initial sculptures was an interactive show teeming with artwork worthy of the title \u003cb>Cosmic Wonder\u003c/b>. A wall installation stuffed with neon, psychedelic, childlike paintings and drawings, and two monitors displaying unrecognizable animation was the first piece I saw and seemed to be the quintessential installation for this particular exhibit. Created by the collective artists of the organization Paperrad, the paintings and monitors were complete with headphones playing techno trance music. I’ll admit I don’t remember if the music was actually trance, but the artwork screamed Candy Kid Raver, so trance would’ve been the most appropriate musical genre to accompany the installation.\u003c/p>\n\u003cp>Several other wall installations were featured in the show, including an enormous mixed media mandala by Hisham Bharoocha that had me standing as close as the museum guards would allow (one inch away at YBCA, I love those guys) to try and determine how the artist went about creating the piece. Next to it was a piece entitled \u003cb>Craftsbury Common II\u003c/b> by Reed Anderson — a giant blueprint paper circle hanging wrinkled on the wall and decorated with intricate cut-out designs and two lovely birds in ink. I liked the juxtaposition of an intricately fragile art process carried out on such an everyday type of paper — what some might call a comment on high art versus low art.\u003c/p>\n\u003cp>It wasn’t until I saw a skate video filmed at the skate park in the coolest town on the Peninsula (where I currently reside) that I decided to write about this show. “What is a skate video doing in an art exhibit?” you might ask. Well, the skaters carried or were in the vicinity of a large white pentagon-shaped sculpture throughout the video, which is apparently enough to make it art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>YBCA’s terrace gallery houses another exhibit from emerging Oakland artists called \u003cb>Sampling Oakland\u003c/b>, which included the best piece of art I’ve seen all summer — a work of genius by SFSU alum Lucrecia Troncoso, who once created a wall installation of delicate flowers made of her own hair. Troncoso’s latest work is an installation of three deer sculptures made of Irish Spring soap standing on a felt meadow in the corner of the gallery, backed by minty-green grass spears painted sparsely on the wall. Not only did the piece smell terrific, but the title \u003cb>Deeroderant\u003c/b> won me over — there’s nothing I love more than clever word combinations, except maybe art featuring the gentle woodland creatures that frequent my backyard.\u003c/p>\n\u003cp>Rather than listing the rest of the pieces I enjoyed in \u003cb>Cosmic Wonder\u003c/b> and \u003cb>Sampling Oakland\u003c/b>, I’ve created a scavenger hunt.\u003c/p>\n\u003cp>Find the following items:\u003cbr>• A triangular mirrored tunnel where you can see 1,000 reflections of yourself.\u003cbr> • A painting featuring infinite paranoid text, including words like “rehab” “meth lab” “soft money” and “sell-outs”.\u003cbr> • Mixed plastic bugs crawling up the wall.\u003cbr> • $1.55 in change on the floor near one of the more curious cosmic wonders.\u003cbr> • Two pieces that politely ask viewers to please remove their shoes. I mostly like looking at art, and I frown upon those who attempt to put their grubby hands on pieces in an exhibit, but it’s definitely fun to be given permission to kick off your shoes and walk on the artwork.\u003cbr> • A Zen sand garden that appears to be designed by The Teletubbies.\u003cbr> • An old television showing footage of old televisions.\u003cbr> • A phantom shopping cart video displayed on a grocery store shelf and a video by the same artist that features a moving car with no driver.\u003cbr> • A tribute wall featuring drawings of recently deceased artists and writers.\u003cbr> • A wall installation that incorporates air freshener trees (hooray, smell-a-vision!).\u003c/p>\n\u003cp>Once you’ve completed the scavenger hunt, you can reward yourself with lunch at A.G. Ferrari Deli, which is less than a block away and a delicious way to complete your cosmic art adventure. Sit outside, have a glass of wine, process all the wonderment you’ve just experienced, and continue pondering how interestingly-named artist, Mads Lynnerup, managed to get a Toyota Camry to drive itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Curious Wonder\u003c/b> runs through November 5, 2006\u003cbr>\u003cb>Sampling Oakland\u003c/b> runs through October 8, 2006\u003cbr>Yerba Buena Center for the Arts, 701 Mission Street at Third Street, San Francisco\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group art exhibit is like a mix tape. None of the artists created their work with the intention of having it displayed right next to another artist’s work. Even when the pieces are displayed in the same gallery, it is challenging to find a common thread. Much more difficult than writing about one artist’s body of work, it’s like writing about the very small exhibitions of too many artists, so I have wholeheartedly been avoiding writing about group shows until now.\u003c/p>\n\u003cp>I was wary when a row of life-sized human figures shrouded in white greeted me at the \u003cb>Cosmic Wonder\u003c/b> show at Yerba Buena Center for the Arts — maybe because they were standing in piles of broken bottles, or maybe because I caught a glimpse of their small creepy hands through the white fabric that covered them. A nearby vase of white felt flowers that was taller than me made me wonder if the exhibit — put together by guest curator Betty Nguyen — should have been called \u003cb>Bleached Wonder\u003c/b> instead.\u003c/p>\n\u003cp>But beyond the initial sculptures was an interactive show teeming with artwork worthy of the title \u003cb>Cosmic Wonder\u003c/b>. A wall installation stuffed with neon, psychedelic, childlike paintings and drawings, and two monitors displaying unrecognizable animation was the first piece I saw and seemed to be the quintessential installation for this particular exhibit. Created by the collective artists of the organization Paperrad, the paintings and monitors were complete with headphones playing techno trance music. I’ll admit I don’t remember if the music was actually trance, but the artwork screamed Candy Kid Raver, so trance would’ve been the most appropriate musical genre to accompany the installation.\u003c/p>\n\u003cp>Several other wall installations were featured in the show, including an enormous mixed media mandala by Hisham Bharoocha that had me standing as close as the museum guards would allow (one inch away at YBCA, I love those guys) to try and determine how the artist went about creating the piece. Next to it was a piece entitled \u003cb>Craftsbury Common II\u003c/b> by Reed Anderson — a giant blueprint paper circle hanging wrinkled on the wall and decorated with intricate cut-out designs and two lovely birds in ink. I liked the juxtaposition of an intricately fragile art process carried out on such an everyday type of paper — what some might call a comment on high art versus low art.\u003c/p>\n\u003cp>It wasn’t until I saw a skate video filmed at the skate park in the coolest town on the Peninsula (where I currently reside) that I decided to write about this show. “What is a skate video doing in an art exhibit?” you might ask. Well, the skaters carried or were in the vicinity of a large white pentagon-shaped sculpture throughout the video, which is apparently enough to make it art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>YBCA’s terrace gallery houses another exhibit from emerging Oakland artists called \u003cb>Sampling Oakland\u003c/b>, which included the best piece of art I’ve seen all summer — a work of genius by SFSU alum Lucrecia Troncoso, who once created a wall installation of delicate flowers made of her own hair. Troncoso’s latest work is an installation of three deer sculptures made of Irish Spring soap standing on a felt meadow in the corner of the gallery, backed by minty-green grass spears painted sparsely on the wall. Not only did the piece smell terrific, but the title \u003cb>Deeroderant\u003c/b> won me over — there’s nothing I love more than clever word combinations, except maybe art featuring the gentle woodland creatures that frequent my backyard.\u003c/p>\n\u003cp>Rather than listing the rest of the pieces I enjoyed in \u003cb>Cosmic Wonder\u003c/b> and \u003cb>Sampling Oakland\u003c/b>, I’ve created a scavenger hunt.\u003c/p>\n\u003cp>Find the following items:\u003cbr>• A triangular mirrored tunnel where you can see 1,000 reflections of yourself.\u003cbr> • A painting featuring infinite paranoid text, including words like “rehab” “meth lab” “soft money” and “sell-outs”.\u003cbr> • Mixed plastic bugs crawling up the wall.\u003cbr> • $1.55 in change on the floor near one of the more curious cosmic wonders.\u003cbr> • Two pieces that politely ask viewers to please remove their shoes. I mostly like looking at art, and I frown upon those who attempt to put their grubby hands on pieces in an exhibit, but it’s definitely fun to be given permission to kick off your shoes and walk on the artwork.\u003cbr> • A Zen sand garden that appears to be designed by The Teletubbies.\u003cbr> • An old television showing footage of old televisions.\u003cbr> • A phantom shopping cart video displayed on a grocery store shelf and a video by the same artist that features a moving car with no driver.\u003cbr> • A tribute wall featuring drawings of recently deceased artists and writers.\u003cbr> • A wall installation that incorporates air freshener trees (hooray, smell-a-vision!).\u003c/p>\n\u003cp>Once you’ve completed the scavenger hunt, you can reward yourself with lunch at A.G. Ferrari Deli, which is less than a block away and a delicious way to complete your cosmic art adventure. Sit outside, have a glass of wine, process all the wonderment you’ve just experienced, and continue pondering how interestingly-named artist, Mads Lynnerup, managed to get a Toyota Camry to drive itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Curious Wonder\u003c/b> runs through November 5, 2006\u003cbr>\u003cb>Sampling Oakland\u003c/b> runs through October 8, 2006\u003cbr>Yerba Buena Center for the Arts, 701 Mission Street at Third Street, San Francisco\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Brian Ulrich: Copia",
"headTitle": "Brian Ulrich: Copia | KQED",
"content": "\u003cp>At one point in my life I thought photography was a sham. All you have to do, I reasoned, is press a button and cross your fingers in hopes that the shot comes out in focus. What kind of skill does that take? I am now enlightened and realize that photography is a technical and skillful craft that is difficult to master. Composition, lighting, subject matter, printing techniques, and many other components are to be considered when creating an aesthetically pleasing photo, and even when an artist makes all the right choices, the image can still turn out ineffectual.\u003c/p>\n\u003cp>Now I have a newfound respect for photography, and I am in love with C-Prints. They’re usually big, vivid and, most importantly — they seem genuine. The subject of a painting could be completely fictional, but there’s no faking photography. I know that’s not entirely true when you take into account Photoshop, air-brushing, and staged shots, but the illusion of reality is always present in a photograph.\u003c/p>\n\u003cp>I’ll get to the point — I saw \u003cb>Brian Ulrich’s\u003c/b> exhibition of eleven selections of large-scale photographs from his ongoing series entitled \u003cb>Copia\u003c/b>. The series was started in response to Bush’s “Go shopping!” manifesto after 9/11, which is why Ulrich’s message, though clear, seems slightly dated. Even so, comments on consumerism in the US are always applicable as we continue to shop like it’s going out of style.\u003c/p>\n\u003cp>Ulrich captures subjects we can relate to — a woman with a cell phone pressed to her ear stares wide-eyed at the wine and cheese section of Jewel-Osco (the Midwest’s answer to Albertson’s) — who hasn’t had trouble deciding whether to get the ’93 or the ’94 Merlot? He also captures scenes we’re familiar with, like the gnarled mess that can occur when a toy aisle at Wal-Mart is left unattended for too long. My personal favorite was an enticing composition of Target check-out lines. The depth of field is quite lovely, and there’s something so pleasing about little red signs lined up in a row. I’m biased because Target is my Happy Place, but I assure you that Ulrich can candidly photograph a middle-American consumer wasteland like nobody’s business.\u003c/p>\n\u003cp>In most of the photos, Ulrich doesn’t stray far from the ever-present grid formation that artists and viewers alike are attracted to, whether they know it or not. One of the central photos in the exhibit features spilled milk in the Faygo soda aisle. The orange, yellow and lime-green crates of soda, the tiled floor, the wood-paneled wall and the plastic curtain protecting the dairy products create a stunning composition, especially when punctuated with a puddle of milk. It’s no wonder that the original and the four limited edition prints of this piece are already sold out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ulrich’s work reminded me of Bill Owens, a photographer who shoots in grocery stores and is obsessed with food. I also thought of Catherine Wagner’s commissioned series of shots taken at Disneyland because one of Ulrich’s photos features a tiny girl who is almost invisible amongst the paraphernalia in a Disney Store. I wonder if Ulrich received his nasty letter yet. Someone should purchase that Disney Store piece before it’s too late; otherwise it’ll have the same fate as Wagner’s Disney shots — impossible to find online due to sanctions imposed by Mickey Mouse and his thugs.\u003c/p>\n\u003cp>What I loved most about Ulrich’s exhibit was the dichotomy of seeing images of decidedly ordinary locations on display in an upscale gallery. I also found it hilarious that even though the exhibit commented on the ugly side of consumerism, I still found myself looking at the photos saying “I want that!” just like the good little consumer that I am. Seriously, that Faygo soda aisle shot would look terrific in my kitchen. My birthday’s coming up soon for anyone who needs gift ideas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brian Ulrich: \u003cb>Copia\u003c/b>\u003cbr>\nRobert Koch Gallery\u003cbr>\n49 Geary St.\u003cbr>\nJuly 6 – September 2, 2006\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At one point in my life I thought photography was a sham. All you have to do, I reasoned, is press a button and cross your fingers in hopes that the shot comes out in focus. What kind of skill does that take? I am now enlightened and realize that photography is a technical and skillful craft that is difficult to master. Composition, lighting, subject matter, printing techniques, and many other components are to be considered when creating an aesthetically pleasing photo, and even when an artist makes all the right choices, the image can still turn out ineffectual.\u003c/p>\n\u003cp>Now I have a newfound respect for photography, and I am in love with C-Prints. They’re usually big, vivid and, most importantly — they seem genuine. The subject of a painting could be completely fictional, but there’s no faking photography. I know that’s not entirely true when you take into account Photoshop, air-brushing, and staged shots, but the illusion of reality is always present in a photograph.\u003c/p>\n\u003cp>I’ll get to the point — I saw \u003cb>Brian Ulrich’s\u003c/b> exhibition of eleven selections of large-scale photographs from his ongoing series entitled \u003cb>Copia\u003c/b>. The series was started in response to Bush’s “Go shopping!” manifesto after 9/11, which is why Ulrich’s message, though clear, seems slightly dated. Even so, comments on consumerism in the US are always applicable as we continue to shop like it’s going out of style.\u003c/p>\n\u003cp>Ulrich captures subjects we can relate to — a woman with a cell phone pressed to her ear stares wide-eyed at the wine and cheese section of Jewel-Osco (the Midwest’s answer to Albertson’s) — who hasn’t had trouble deciding whether to get the ’93 or the ’94 Merlot? He also captures scenes we’re familiar with, like the gnarled mess that can occur when a toy aisle at Wal-Mart is left unattended for too long. My personal favorite was an enticing composition of Target check-out lines. The depth of field is quite lovely, and there’s something so pleasing about little red signs lined up in a row. I’m biased because Target is my Happy Place, but I assure you that Ulrich can candidly photograph a middle-American consumer wasteland like nobody’s business.\u003c/p>\n\u003cp>In most of the photos, Ulrich doesn’t stray far from the ever-present grid formation that artists and viewers alike are attracted to, whether they know it or not. One of the central photos in the exhibit features spilled milk in the Faygo soda aisle. The orange, yellow and lime-green crates of soda, the tiled floor, the wood-paneled wall and the plastic curtain protecting the dairy products create a stunning composition, especially when punctuated with a puddle of milk. It’s no wonder that the original and the four limited edition prints of this piece are already sold out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ulrich’s work reminded me of Bill Owens, a photographer who shoots in grocery stores and is obsessed with food. I also thought of Catherine Wagner’s commissioned series of shots taken at Disneyland because one of Ulrich’s photos features a tiny girl who is almost invisible amongst the paraphernalia in a Disney Store. I wonder if Ulrich received his nasty letter yet. Someone should purchase that Disney Store piece before it’s too late; otherwise it’ll have the same fate as Wagner’s Disney shots — impossible to find online due to sanctions imposed by Mickey Mouse and his thugs.\u003c/p>\n\u003cp>What I loved most about Ulrich’s exhibit was the dichotomy of seeing images of decidedly ordinary locations on display in an upscale gallery. I also found it hilarious that even though the exhibit commented on the ugly side of consumerism, I still found myself looking at the photos saying “I want that!” just like the good little consumer that I am. Seriously, that Faygo soda aisle shot would look terrific in my kitchen. My birthday’s coming up soon for anyone who needs gift ideas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brian Ulrich: \u003cb>Copia\u003c/b>\u003cbr>\nRobert Koch Gallery\u003cbr>\n49 Geary St.\u003cbr>\nJuly 6 – September 2, 2006\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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