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"content": "\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938291,news_11973503' label=\"Public Art in Chinatown\"]In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>[aside postID='arts_13920940']The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dionne Lee’s art casts a spell.\u003c/p>\n\u003cp>My first encounter with her work, a few years ago, remains unforgettable. In addition to samplings of Lee’s signature brand of raw, no-frills darkroom photography, \u003ca href=\"https://etaletc.com/dionne-lee-castings\">the exhibition\u003c/a> included a sculpture made from strips of cotton fabric tied between two wooden dowels, the ends of which were balanced on stacks of rocks. The sagging fabric of the improvised stretcher hovered just barely above the floor. This delicate tension of the almost imperceptible space between edges was vertigo-inducing, mesmerizing.\u003c/p>\n\u003cp>Earlier this year, I encountered Lee’s work again, in the 2024 edition of the \u003ca href=\"https://whitney.org/exhibitions/2024-biennial\">Whitney Biennial\u003c/a>. That piece is a video showing the artist’s hands holding two dowsing rods — sticks used to locate groundwater — aimlessly wandering an expansive field. Again, the effect was transcendence, a meditative and intoxicating antidote to hype. \u003c/p>\n\u003cp>[aside postID='arts_13960799']Lee’s latest exhibition, \u003cem>\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>\u003c/em>, at the Mission District space Cushion Works, is a spare and spacious offering of three brief black-and-white videos and five silver gelatin prints, all untitled. The gallery space is dark; the videos play on CRT monitors on low pedestals, casting pools of light on the floor at their bases. The photos are small and individually spotlit. The presentation and the work are simultaneously restrained and expansive, an apt parallel to humanity’s fleeting existence within the geologic timescale versus our outsized impact on the planet.\u003c/p>\n\u003cfigure id=\"attachment_13960973\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg\" alt=\"white spiral against rocky background\" width=\"1440\" height=\"1080\" class=\"size-full wp-image-13960973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-768x576.jpeg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Lee, ‘Untitled,’ 2024; video (black and white, silent), 18:51 minutes, looping. \u003ccite>(Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the work in \u003cem>Currents\u003c/em> was made in collaboration with the natural environment, in a ravine a brief walk from Lee’s house in Columbus, Ohio, where she spends hours at a time documenting her performative gestures with a film camera and handheld camcorder. Only this documentation remains, the gestures themselves vanishing from the site of their creation almost immediately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The longest video, at around 19 minutes, features a handful of slow, panning shots, tracking a spiral of white string as it floats on the surface of a shallow creek. The camera cuts only when the string is on the verge of unraveling from its spiral form, which, spoiler alert, it does at the very end, stretching out across the water in a wavering line. This cycle of expansion and contraction, negotiating the limits of human control over the natural environment, is reminiscent of meditative breathing. The final shot is an exhalation, a relinquishing of control to Lee’s natural collaborator.\u003c/p>\n\u003cp>Another video is a static shot of a large, flat stone, over which Lee continually spins a forked stick like a dowsing rod or divination tool, its spinning shadow echoing the spiral motif. Her hand remains out of frame, occasionally flickering into view. Here again, the tension between human intervention and natural course is evident.\u003c/p>\n\u003cp>Lee’s practice hovers somewhere between a conservative brand of land art and performance documentation, in company with Andy Goldsworthy’s \u003ca href=\"https://www.artsy.net/artwork/andy-goldsworthy-hand-hit-site-dust-presidio-spire\">dust drawings\u003c/a>, Ana Mendieta’s \u003ca href=\"https://www.tate.org.uk/art/artworks/mendieta-grass-breathing-l04622\">impressions in grass\u003c/a> and Robert Smithson’s \u003ca href=\"https://www.fundacionjumex.org/en/programa/296-actividades-de-entrecruzamientos/overturned-rock\">photographs of overturned rocks\u003c/a> — all artworks that were eventually overtaken by nature.\u003c/p>\n\u003cfigure id=\"attachment_13960969\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg\" alt=\"two images, one of monitor with black-and-white video playing, the other of a photo print of a spiral painted with water on a rock\" width=\"2000\" height=\"1345\" class=\"size-full wp-image-13960969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1920x1291.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Dionne Lee’s video works and a silver gelatin print from the ‘Untitled Rock Drawing III’ series. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of three photographs, \u003cem>Untitled Rock Drawing III\u003c/em>, dot the gallery walls. Each shows a spiral drawn in water on the surface of a flat rock, the drawing fading more and more in the direct sunlight, leaving only the photographs behind. These pictures read almost like stills from a video in their own right, inviting the viewer to pace their own experience as they move through the gallery, activating Lee’s magic trick of manipulating time.\u003c/p>\n\u003cp>Lee recently participated in two projects connecting artists with the outdoors, which informed the work in Currents. The first was a \u003ca href=\"https://landarts.org/\">Land Arts of the American West\u003c/a> residency, which involved a two-month camping trip across the Southwest to famous land art locations — from Michael Heizer’s \u003cem>Double Negative\u003c/em> to Robert Smithson’s \u003cem>Spiral Jetty\u003c/em> — and a nuclear test site. She was also an “artist researcher” in \u003ca href=\"https://www.unseencalifornia.com/\">Unseen California\u003c/a>’s inaugural cohort, an initiative through the University of California Santa Cruz that “engages the public land of California as an outdoor artist studio and classroom laboratory.”\u003c/p>\n\u003cp>Lee says she’s still processing these experiences in her work. “I spent two months living outdoors and now I’m home and I’m drawing spirals on rocks,” she says, laughing.\u003c/p>\n\u003cp>And it’s this process of exploration and examination that the image of the spiral evokes, the circular logic of endless questioning turning in on itself.\u003c/p>\n\u003cp>“It’s not about finding anything,” Lee says. “It’s just about the act of searching or looking.”\u003c/p>\n\u003cfigure id=\"attachment_13960970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13960970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dionne Lee’s ‘Currents’ at Cushion Works. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lack of a clear destination doesn’t necessarily make a search purposeless.\u003c/p>\n\u003cp>One mystical parallel to this kind of artistic practice would be apophatic theology, also known as negative theology. The practice, common in Christian mysticism, attempts to define God by everything that they are not, the idea being that what remains in relief of the infinite “not” is the closest we can come to defining the divine.\u003c/p>\n\u003cp>Lee’s work evokes the sublime tradition in landscape art, an embodied conceptual experience “prioritizing another level of experience and understanding and knowledge,” she says. Here, it is cosmic and geological at once, containing both light years and deep time, expanding the definition of landscape photography to metaphysical considerations. The topographies in \u003cem>Currents\u003c/em> are the contours of a divine experience that borders the limits of human comprehension.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>’ is on view at Cushion Works (3320 18th St., San Francisco) through Aug. 10, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dionne Lee’s art casts a spell.\u003c/p>\n\u003cp>My first encounter with her work, a few years ago, remains unforgettable. In addition to samplings of Lee’s signature brand of raw, no-frills darkroom photography, \u003ca href=\"https://etaletc.com/dionne-lee-castings\">the exhibition\u003c/a> included a sculpture made from strips of cotton fabric tied between two wooden dowels, the ends of which were balanced on stacks of rocks. The sagging fabric of the improvised stretcher hovered just barely above the floor. This delicate tension of the almost imperceptible space between edges was vertigo-inducing, mesmerizing.\u003c/p>\n\u003cp>Earlier this year, I encountered Lee’s work again, in the 2024 edition of the \u003ca href=\"https://whitney.org/exhibitions/2024-biennial\">Whitney Biennial\u003c/a>. That piece is a video showing the artist’s hands holding two dowsing rods — sticks used to locate groundwater — aimlessly wandering an expansive field. Again, the effect was transcendence, a meditative and intoxicating antidote to hype. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lee’s latest exhibition, \u003cem>\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>\u003c/em>, at the Mission District space Cushion Works, is a spare and spacious offering of three brief black-and-white videos and five silver gelatin prints, all untitled. The gallery space is dark; the videos play on CRT monitors on low pedestals, casting pools of light on the floor at their bases. The photos are small and individually spotlit. The presentation and the work are simultaneously restrained and expansive, an apt parallel to humanity’s fleeting existence within the geologic timescale versus our outsized impact on the planet.\u003c/p>\n\u003cfigure id=\"attachment_13960973\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg\" alt=\"white spiral against rocky background\" width=\"1440\" height=\"1080\" class=\"size-full wp-image-13960973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-768x576.jpeg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Lee, ‘Untitled,’ 2024; video (black and white, silent), 18:51 minutes, looping. \u003ccite>(Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the work in \u003cem>Currents\u003c/em> was made in collaboration with the natural environment, in a ravine a brief walk from Lee’s house in Columbus, Ohio, where she spends hours at a time documenting her performative gestures with a film camera and handheld camcorder. Only this documentation remains, the gestures themselves vanishing from the site of their creation almost immediately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The longest video, at around 19 minutes, features a handful of slow, panning shots, tracking a spiral of white string as it floats on the surface of a shallow creek. The camera cuts only when the string is on the verge of unraveling from its spiral form, which, spoiler alert, it does at the very end, stretching out across the water in a wavering line. This cycle of expansion and contraction, negotiating the limits of human control over the natural environment, is reminiscent of meditative breathing. The final shot is an exhalation, a relinquishing of control to Lee’s natural collaborator.\u003c/p>\n\u003cp>Another video is a static shot of a large, flat stone, over which Lee continually spins a forked stick like a dowsing rod or divination tool, its spinning shadow echoing the spiral motif. Her hand remains out of frame, occasionally flickering into view. Here again, the tension between human intervention and natural course is evident.\u003c/p>\n\u003cp>Lee’s practice hovers somewhere between a conservative brand of land art and performance documentation, in company with Andy Goldsworthy’s \u003ca href=\"https://www.artsy.net/artwork/andy-goldsworthy-hand-hit-site-dust-presidio-spire\">dust drawings\u003c/a>, Ana Mendieta’s \u003ca href=\"https://www.tate.org.uk/art/artworks/mendieta-grass-breathing-l04622\">impressions in grass\u003c/a> and Robert Smithson’s \u003ca href=\"https://www.fundacionjumex.org/en/programa/296-actividades-de-entrecruzamientos/overturned-rock\">photographs of overturned rocks\u003c/a> — all artworks that were eventually overtaken by nature.\u003c/p>\n\u003cfigure id=\"attachment_13960969\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg\" alt=\"two images, one of monitor with black-and-white video playing, the other of a photo print of a spiral painted with water on a rock\" width=\"2000\" height=\"1345\" class=\"size-full wp-image-13960969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1920x1291.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Dionne Lee’s video works and a silver gelatin print from the ‘Untitled Rock Drawing III’ series. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of three photographs, \u003cem>Untitled Rock Drawing III\u003c/em>, dot the gallery walls. Each shows a spiral drawn in water on the surface of a flat rock, the drawing fading more and more in the direct sunlight, leaving only the photographs behind. These pictures read almost like stills from a video in their own right, inviting the viewer to pace their own experience as they move through the gallery, activating Lee’s magic trick of manipulating time.\u003c/p>\n\u003cp>Lee recently participated in two projects connecting artists with the outdoors, which informed the work in Currents. The first was a \u003ca href=\"https://landarts.org/\">Land Arts of the American West\u003c/a> residency, which involved a two-month camping trip across the Southwest to famous land art locations — from Michael Heizer’s \u003cem>Double Negative\u003c/em> to Robert Smithson’s \u003cem>Spiral Jetty\u003c/em> — and a nuclear test site. She was also an “artist researcher” in \u003ca href=\"https://www.unseencalifornia.com/\">Unseen California\u003c/a>’s inaugural cohort, an initiative through the University of California Santa Cruz that “engages the public land of California as an outdoor artist studio and classroom laboratory.”\u003c/p>\n\u003cp>Lee says she’s still processing these experiences in her work. “I spent two months living outdoors and now I’m home and I’m drawing spirals on rocks,” she says, laughing.\u003c/p>\n\u003cp>And it’s this process of exploration and examination that the image of the spiral evokes, the circular logic of endless questioning turning in on itself.\u003c/p>\n\u003cp>“It’s not about finding anything,” Lee says. “It’s just about the act of searching or looking.”\u003c/p>\n\u003cfigure id=\"attachment_13960970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13960970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dionne Lee’s ‘Currents’ at Cushion Works. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lack of a clear destination doesn’t necessarily make a search purposeless.\u003c/p>\n\u003cp>One mystical parallel to this kind of artistic practice would be apophatic theology, also known as negative theology. The practice, common in Christian mysticism, attempts to define God by everything that they are not, the idea being that what remains in relief of the infinite “not” is the closest we can come to defining the divine.\u003c/p>\n\u003cp>Lee’s work evokes the sublime tradition in landscape art, an embodied conceptual experience “prioritizing another level of experience and understanding and knowledge,” she says. Here, it is cosmic and geological at once, containing both light years and deep time, expanding the definition of landscape photography to metaphysical considerations. The topographies in \u003cem>Currents\u003c/em> are the contours of a divine experience that borders the limits of human comprehension.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>’ is on view at Cushion Works (3320 18th St., San Francisco) through Aug. 10, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Airy Paintings Made Chunky, By Way of Ceramics, at House of Seiko",
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"content": "\u003cp>Shows at the Mission District gallery \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a> are usually spare by necessity: the storefront space is a mere 350 square feet. This is absolutely a good thing. A spare show gives art room to breathe. It makes small details pop. Viewers linger to chat and soak it all in. (The one downside to a spare show is that it looks completely underwhelming in photographs, but that’s neither the fault of the art nor its arrangement.)\u003c/p>\n\u003cp>In House of Seiko’s latest exhibition, \u003ca href=\"https://www.instagram.com/crosslypka/\">Cross Lypka\u003c/a>’s \u003ci>\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>\u003c/i>, just four ceramic works hang on the gallery’s white walls. Created through a process of exquisite-corpse-like collaboration by Oakland artists Tyler Cross and Kyle Lypka, the sculptures are airy paintings made chunky, an alchemical fusion of delicacy and solidity. \u003c/p>\n\u003cp>It starts with a drawing, sometimes just the outline of a shape, often made by Cross. Lypka selects from these glyphs and hand-builds a three-dimensional object from clay. Cross applies the glaze, using a mixture of glass and other additives that run and pool according to the vicissitudes of gravity and heat. The pieces are fired in a bed of sand that fuses with the overflowing molten mixture, creating an encrusted skirt on an otherwise smooth finish. Then, the artists apply surface treatments and sealants.\u003c/p>\n\u003cfigure id=\"attachment_13960808\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg\" alt=\"Two images, one of slim vertical abstract ceramic sculpture on white wall, other of book-like ceramic sculpture on wall\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13960808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cross Lypka, ‘TiiJ,’ 2024 and ‘Thunderhead,’ 2024. \u003ccite>(House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Up close, their undulating ceramic objects — in this show, all wall-hanging works — are covered in fine networks of crackle. Some glazes render colors as if they lie at the bottom of clear pools. Others resemble the watercolor-esque stain paintings of Helen Frankenthaler (and her copyist, Morris Louis). \u003c/p>\n\u003cp>While Cross Lypka’s \u003ca href=\"https://www.blunkspace.com/gravity-corner\">previous exhibitions\u003c/a> have included more vessel-like sculptures, \u003ci>Tarantula\u003c/i> resembles a set of architectural fragments that could have been pried off a rotting Victorian down the street. There are nods to cornices and crown molding. These are mysterious ornaments removed from any set purpose and showing signs of elemental wear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>TiiJ\u003c/i>, the show’s largest work, stretches nearly the entire length of the floor to ceiling, seven feet tall. It’s a column in four parts, with two mirrored groves running top to bottom, channels for bright yellow and lurid green glaze. \u003c/p>\n\u003cp>This color combination reappears in \u003ci>h.e.r.d.\u003c/i>, now flowing between bookends of madder lake red. \u003ci>h.e.r.d.\u003c/i>’s shape, slightly reminiscent of a hymnal board, protrudes along a vertical center line, like the negative shape formed by an open book. \u003c/p>\n\u003cfigure id=\"attachment_13960809\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg\" alt=\"White gallery walls with three abstract ceramic sculptures hanging, one that wraps around a protruding corner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Cross Lypka’s ‘Tarantula’ at House of Seiko. \u003ccite>(House of Seiko )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its positive hangs diagonally opposite; \u003ci>Thunderhead\u003c/i>, with ruffled chanterelle edges, is the most organic of the bunch. If these reflected, Rorschach test sculptures are illuminated manuscripts, then \u003ci>vVVVv\u003c/i>, a piece that wraps in four segments around House of Seiko’s one architectural oddity (a slight bump-out in one corner), is an accordion-fold book, hinged across three right angles. \u003c/p>\n\u003cp>I like this book simile because it gets at the multistep and transformative process by which these objects are made. Cross’ initial drawings become flat covers. Lypka’s extrapolations pad out the silhouettes, filling the book with pages and substance. The glass and glaze: text and illustration. Firing it all in the kiln, solidifying and fusing particulate matter — that’s the binding. \u003c/p>\n\u003cp>What doesn’t quite fit into this retelling is the sandy residue on each sculpture’s back edge. This detail makes the sculptures more archeological than literary, as if rescued from the sea with a colony of barnacles attached. Books would never.\u003c/p>\n\u003cp>So maybe the works in \u003ci>Tarantula\u003c/i> aren’t books. They’re already the result of a collaboration between a painter and a ceramicist. I truly don’t need to throw another art form into the mix. This temptation comes from their ethereal quality of being a third thing: wet but hardened; crisp but handmade; taking up space, but gesturing, always, at what might fit around them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco) through Aug. 11, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shows at the Mission District gallery \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a> are usually spare by necessity: the storefront space is a mere 350 square feet. This is absolutely a good thing. A spare show gives art room to breathe. It makes small details pop. Viewers linger to chat and soak it all in. (The one downside to a spare show is that it looks completely underwhelming in photographs, but that’s neither the fault of the art nor its arrangement.)\u003c/p>\n\u003cp>In House of Seiko’s latest exhibition, \u003ca href=\"https://www.instagram.com/crosslypka/\">Cross Lypka\u003c/a>’s \u003ci>\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>\u003c/i>, just four ceramic works hang on the gallery’s white walls. Created through a process of exquisite-corpse-like collaboration by Oakland artists Tyler Cross and Kyle Lypka, the sculptures are airy paintings made chunky, an alchemical fusion of delicacy and solidity. \u003c/p>\n\u003cp>It starts with a drawing, sometimes just the outline of a shape, often made by Cross. Lypka selects from these glyphs and hand-builds a three-dimensional object from clay. Cross applies the glaze, using a mixture of glass and other additives that run and pool according to the vicissitudes of gravity and heat. The pieces are fired in a bed of sand that fuses with the overflowing molten mixture, creating an encrusted skirt on an otherwise smooth finish. Then, the artists apply surface treatments and sealants.\u003c/p>\n\u003cfigure id=\"attachment_13960808\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg\" alt=\"Two images, one of slim vertical abstract ceramic sculpture on white wall, other of book-like ceramic sculpture on wall\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13960808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cross Lypka, ‘TiiJ,’ 2024 and ‘Thunderhead,’ 2024. \u003ccite>(House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Up close, their undulating ceramic objects — in this show, all wall-hanging works — are covered in fine networks of crackle. Some glazes render colors as if they lie at the bottom of clear pools. Others resemble the watercolor-esque stain paintings of Helen Frankenthaler (and her copyist, Morris Louis). \u003c/p>\n\u003cp>While Cross Lypka’s \u003ca href=\"https://www.blunkspace.com/gravity-corner\">previous exhibitions\u003c/a> have included more vessel-like sculptures, \u003ci>Tarantula\u003c/i> resembles a set of architectural fragments that could have been pried off a rotting Victorian down the street. There are nods to cornices and crown molding. These are mysterious ornaments removed from any set purpose and showing signs of elemental wear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>TiiJ\u003c/i>, the show’s largest work, stretches nearly the entire length of the floor to ceiling, seven feet tall. It’s a column in four parts, with two mirrored groves running top to bottom, channels for bright yellow and lurid green glaze. \u003c/p>\n\u003cp>This color combination reappears in \u003ci>h.e.r.d.\u003c/i>, now flowing between bookends of madder lake red. \u003ci>h.e.r.d.\u003c/i>’s shape, slightly reminiscent of a hymnal board, protrudes along a vertical center line, like the negative shape formed by an open book. \u003c/p>\n\u003cfigure id=\"attachment_13960809\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg\" alt=\"White gallery walls with three abstract ceramic sculptures hanging, one that wraps around a protruding corner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Cross Lypka’s ‘Tarantula’ at House of Seiko. \u003ccite>(House of Seiko )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its positive hangs diagonally opposite; \u003ci>Thunderhead\u003c/i>, with ruffled chanterelle edges, is the most organic of the bunch. If these reflected, Rorschach test sculptures are illuminated manuscripts, then \u003ci>vVVVv\u003c/i>, a piece that wraps in four segments around House of Seiko’s one architectural oddity (a slight bump-out in one corner), is an accordion-fold book, hinged across three right angles. \u003c/p>\n\u003cp>I like this book simile because it gets at the multistep and transformative process by which these objects are made. Cross’ initial drawings become flat covers. Lypka’s extrapolations pad out the silhouettes, filling the book with pages and substance. The glass and glaze: text and illustration. Firing it all in the kiln, solidifying and fusing particulate matter — that’s the binding. \u003c/p>\n\u003cp>What doesn’t quite fit into this retelling is the sandy residue on each sculpture’s back edge. This detail makes the sculptures more archeological than literary, as if rescued from the sea with a colony of barnacles attached. Books would never.\u003c/p>\n\u003cp>So maybe the works in \u003ci>Tarantula\u003c/i> aren’t books. They’re already the result of a collaboration between a painter and a ceramicist. I truly don’t need to throw another art form into the mix. This temptation comes from their ethereal quality of being a third thing: wet but hardened; crisp but handmade; taking up space, but gesturing, always, at what might fit around them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco) through Aug. 11, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-drone-photo-competition-siena-drone-awards-short-list-best-images-from-around-the-world",
"title": "These Amazing Drone’s-Eye Views of Our World Are Up for Best Drone Photo",
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"headTitle": "These Amazing Drone’s-Eye Views of Our World Are Up for Best Drone Photo | KQED",
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"content": "\u003cp>On a hot and humid Tuesday morning in April 2023, at the ringside of a wrestling match in Chittagong, Bangladesh, software engineer Sanchayan Chowdhury was looking for a good vantage point to launch his drone. Currently living in Finland, Chowdhury had traveled to Bangladesh to capture shots of the famed Abdul Jabbar’s Boli Khela — a wrestling tournament that dates as far back as 1909 and is named after the man who started it. Boli Khela means “the game of powerful people.”\u003c/p>\n\u003cp>The image highlights the dedication, skill and physical prowess of the wrestlers, he says. “I decided to shoot this picture because I wanted to capture the raw energy and passion of the wrestlers as well as the vibrant atmosphere of the event. It’s a way to honor my heritage and share this unique cultural practice with a broader audience.”\u003c/p>\n\u003cp>His photo is a finalist at this years’ Siena Drone Photo Awards.\u003c/p>\n\u003cp>[aside postid='arts_13956615']Drone photography has really evolved over the years, says Emanuela Ascoli, one of the judges for this year’s contest. And that’s thanks to the advancement in technology. Drones can now fly faster, secure better quality images and as a result of their GPS (global positioning system) can move precisely and maintain stable positions. “This has made it easier for photographers to capture detailed and stunning aerial shots from perspectives that were previously impossible to achieve,” she says.\u003c/p>\n\u003cp>Overall, judges look for photographs that stand out for their technical skill, creativity, composition and visual impact, Ascoli says. “Above all, I consider the photograph’s emotional and aesthetic impact, including how well it captures a moment — the perfect moment,” adding that “a great picture stops the time and raises awareness of the wonders and worries of our world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a selection of contest nominees, focusing on the Global South countries that NPR’s Goats & Soda covers. The prize winners will be announced on September 28.\u003c/p>\n\u003ch3>A pack of pelicans\u003c/h3>\n\u003cfigure id=\"attachment_13960789\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM.png\" alt=\"A gathering of scores of pelicans, all huddled together against a black background\" width=\"852\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-768x1026.png 768w\" sizes=\"(max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">Pelicans gather in the wetland Estero el Soldado in Guaymas, Sonora, Mexico. The white pelicans stand out against waters darkened by sediment. \u003ccite>(Guillermo Soberón)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guillemo Soberon chanced upon this scene when he set out to document the beauty of the wetlands called Estero el soldado for the media site Mongabay. “It is a natural protected area that hosts a great biodiversity, over 400 species in 350 hectares of land, and it’s a beautiful space in my hometown, Guaymas, Sonora, México,” he says. As he was shooting wildlife with his camera, he launched his drone to capture shots of the ecosystem from above. He meant to create a “virtual tour” to showcase the beauty and importance of the wetlands and that’s when he spotted a flock of gleaming white pelicans.\u003c/p>\n\u003cp>“It was such an amazing scene, I couldn’t believe my luck,” he says. While brown pelicans are common in these parts, white pelicans are not easy to find. “I believe that the appreciation of nature is a pathway to its conservation,” Soberon says.\u003c/p>\n\u003ch3>Crossing the Darien Gap\u003c/h3>\n\u003cfigure id=\"attachment_13960791\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM.png\" alt=\"An aerial shot of a long line of people walking on a path carved out between dense forest on either side.\" width=\"1928\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM.png 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1920x1277.png 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Migrants trekking through the jungle during clandestine journeys through the Darien Gap typically endure five or six days, exposed to all kinds of harsh weather conditions. \u003ccite>(Luis Acosta/AFP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photographer at Agence France Press, Luis Acosta has on several occasions visited Darien Gap, the region that stretches from the Darien Province of Panama to Columbia. In 2023, over 500,000 people moved through the Darien Gap to migrate to the U.S.\u003c/p>\n\u003cp>In September last year, Acosta deployed a drone to capture the image. “I realized that the only way to show the magnitude of the migration through the jungle was with a drone,” he says. “The message I want to send with this image is how people’s desperation to find a better life forces them to make such dangerous journeys, sometimes risking the lives of their loved ones,” he says.\u003c/p>\n\u003ch3>Crowds at the bullfight\u003c/h3>\n\u003cfigure id=\"attachment_13960792\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM.png\" alt=\"An aerial image of a vast crowd seated in concentric circles around a central ring.\" width=\"1710\" height=\"1268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM.png 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-1536x1139.png 1536w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">More than 42,000 people witness the final minutes of a bullfight in Mexico City’s Plaza México arena. \u003ccite>(Roberto Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Drone shots of crowds create interesting visual patterns, says Roberto Hernández Guerrero, a graphic designer turned photographer.\u003c/p>\n\u003cp>In February 2024, a court ruling allowed bull fights to finally return to Mexico City after a gap of two years. After the two-year ban, crowds swelled. Over 40,000 people gathered at La Monumental Plaza de Toros Mexico to watch the bulls return to the arena. And he decided to aim for a drone photo.\u003c/p>\n\u003cp>It took a week of planning and two days of drone flying to get the perfect shot. He rented the roof of the biggest building near the Plaza de Toros and from this vantage point launched his drone.\u003c/p>\n\u003cp>[aside postid='arts_13960083']Guerrero purchased his first drone camera a decade ago. “It started as a hobby,” he says. “I’ve flown a lot of different models, each with better technology and camera than the last. And while I enjoy the result, to be honest, I don’t enjoy flying drones, because it’s stressful,” he says. And that’s because he knows that whatever goes up can come crashing down too. “Some of my best photos involve flying drones over the heads of many people but that thought isn’t relaxing,” he laughs.\u003c/p>\n\u003cp>The title of this photo, \u003cem>Last Minute\u003c/em>, refers literally to the last minutes of a bull’s life. “I don’t support bullfights,” Guerrero says. “When the bull died, I almost cried, taking that last shot. But as with many aspects of my life, I respect people who think differently.” The photo, he says reflects both the pain and plight of the bulls in the arena and how they suffer, contrasting it with thousands of people who embrace the tradition.\u003c/p>\n\u003ch3>Where the Banni buffalo roam\u003c/h3>\n\u003cfigure id=\"attachment_13960793\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM.png\" alt=\"An aerial shot of a small herd of buffalo walking across red and white earth.\" width=\"1166\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-800x947.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-1020x1207.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-768x909.png 768w\" sizes=\"(max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">The Banni buffalo can tolerate harsh climatic conditions, surviving on scant patches of grass and shrubs. They are commonly found in the salt marshes of India’s Thar desert. \u003ccite>(Raj Mohan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An engineer who lives in Bengaluru, India, Raj Mohan has a passion for photography and for drones that drew him to a salt marsh within the Thar desert in the western Indian state of Gujarat.\u003c/p>\n\u003cp>“Drones transform the mundane view of what we see everyday. Everything looks different from above,” Mohan says.\u003c/p>\n\u003cp>At first, he meant to seek out patterns of white salt streaks on the brown mud. However, his drone shots also caught farmers taking their Banni buffaloes out to graze in the small patches of green left. Banni buffaloes are well-adapted to survive water scarcity, frequent droughts and high temperatures.\u003c/p>\n\u003cp>“Ultimately, the resilience of these buffaloes serves as a powerful example of how life can adapt and survive under challenging conditions,” he says.\u003c/p>\n\u003ch3>A 6-mile bridge\u003c/h3>\n\u003cfigure id=\"attachment_13960794\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM.png\" alt=\"An aerial image of a highway cutting diagonally across a frozen body of water.\" width=\"1712\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM.png 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-768x575.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-1536x1150.png 1536w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">The river carves out large, tree-like ravines on the mudflat along the Jiashao Bridge that extends into the East China Sea. \u003ccite>(Sheng Jiang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drone photo by middle school teacher Sheng Jiang depicts Jia Shao bridge (also called the Jiaxing-Shaoxing Sea Bridge) — stretching across the mouth of the Qiantang River in the Zhejiang Province of China. It’s one of the longest pylon cable sea bridges in the world, extending 6 miles.\u003c/p>\n\u003cp>[aside postid='arts_13960392']“You can see the splendor of Chinese infrastructure,” says Jiang. She was especially fascinated by the branch-like patterns (that look like nerve endings. she says) that the river carves out in the mud flats around the bridge. In order to get the patterns in the picture which can only be seen from the air, she took the shot at midday and at low tide so the shadows of the bridge wouldn’t interfere with the image.\u003c/p>\n\u003cp>“By combining man-made structures with unique natural landscape along the Qiantang River, I hope to show a China where man and nature co-exist in harmony,” she says.\u003c/p>\n\u003ch3>Snowed-in village\u003c/h3>\n\u003cfigure id=\"attachment_13960795\" class=\"wp-caption aligncenter\" style=\"max-width: 1922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM.png\" alt=\"An aerial image of lines and squares and green patches on a white background far below.\" width=\"1922\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM.png 1922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1920x1283.png 1920w\" sizes=\"(max-width: 1922px) 100vw, 1922px\">\u003cfigcaption class=\"wp-caption-text\">The village of Kargapazari in the Bingol province of Turkey is blanketed with a layer of white snow, resembling an absract painting from this drone perspective. \u003ccite>(Hüseyin Karahan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hüseyin Karahan served as an officer in the Turkish naval forces for 30 years before retiring in 2018 and indulging in his love for photography. Karahan says, “Famous Turkish photographer Ara Güler, who made me love the art of photography, has a well-known saying: ‘\u003cem>Photos taken at random turn out better, we are happier with people we meet by chance, falling asleep in a corner is the most enjoyable sleep, unplanned activities are more fun.’\u003c/em> In short, everything that happens spontaneously is the most beautiful. These words completely summarize the photo I took,” he says.\u003c/p>\n\u003cp>On a February morning, Karahan visited the village of Kargapazari in the Bingol province of Turkey. He planned to photograph people leaving a mosque after prayers. However, their exit was delayed and so he raised his drone to the maximum height to see what it would see. At that moment, he says, the landscape looked like an abstract picture — and reminded him of how small we actually were in this big world.\u003c/p>\n\u003cp>“I love taking photos with a drone, it allows us to see things that the human eye cannot see, perhaps with the eyes of a flying bird,” says Karahan.\u003c/p>\n\u003ch3>City meets mountains\u003c/h3>\n\u003cfigure id=\"attachment_13960796\" class=\"wp-caption aligncenter\" style=\"max-width: 1930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM.png\" alt=\"The light of thousands of tiny windows in several large buildings illuminate the night sky.\" width=\"1930\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM.png 1930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1536x1003.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1920x1253.png 1920w\" sizes=\"(max-width: 1930px) 100vw, 1930px\">\u003cfigcaption class=\"wp-caption-text\">Guiyang City, located in Guizhou Province, China, boasts numerous towering buildings and elevated bridges that seamlessly integrate with the surrounding mountainous terrain. \u003ccite>(Xu Zhang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beijing-based Xu Zhan, who’s 64, has been in love with photography since his middle school years and is a member of the China Photographer’s Association. He started using drones for filming in 2018, captivated by the perspective it could provide to ordinary landscapes.\u003c/p>\n\u003cp>[aside postid='arts_13960599']Visiting Guiyang City in the Guizhou Province of China, he shot this photo of Qianchun Interchange bridge in July 2023. He sought to capture how the urban landscape integrates with surrounding mountainous terrain. With 11 ramps, 8 entrances and exits, and two main lines, the overpass was put into use in 2016 and is spectacular, he says. “I only took a small part of the huge overpass in this picture. The exit of the overpass between the hills draws people’s attention to the bustling city and to the dazzling lights of every household.”\u003c/p>\n\u003cp>Nighttime photography using a drone can be a challenge, he says, because of poor visibility. His top tip: “Find a good [spot] and take enough photos until you’re satisfied.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, South India. She reports on global health, science and development and has been published in ‘The New York Times,’ ‘The British Medical Journal,’ the BBC, ‘The Guardian’ and other outlets. You can find her on X: \u003c/em>\u003ca href=\"https://x.com/kamal_t?lang=en\">@Kamal_t\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Here's a selection of finalists for the Siena Drone Photo Award 2024: a wrestling match, a snow-covered village and pelicans!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a hot and humid Tuesday morning in April 2023, at the ringside of a wrestling match in Chittagong, Bangladesh, software engineer Sanchayan Chowdhury was looking for a good vantage point to launch his drone. Currently living in Finland, Chowdhury had traveled to Bangladesh to capture shots of the famed Abdul Jabbar’s Boli Khela — a wrestling tournament that dates as far back as 1909 and is named after the man who started it. Boli Khela means “the game of powerful people.”\u003c/p>\n\u003cp>The image highlights the dedication, skill and physical prowess of the wrestlers, he says. “I decided to shoot this picture because I wanted to capture the raw energy and passion of the wrestlers as well as the vibrant atmosphere of the event. It’s a way to honor my heritage and share this unique cultural practice with a broader audience.”\u003c/p>\n\u003cp>His photo is a finalist at this years’ Siena Drone Photo Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Drone photography has really evolved over the years, says Emanuela Ascoli, one of the judges for this year’s contest. And that’s thanks to the advancement in technology. Drones can now fly faster, secure better quality images and as a result of their GPS (global positioning system) can move precisely and maintain stable positions. “This has made it easier for photographers to capture detailed and stunning aerial shots from perspectives that were previously impossible to achieve,” she says.\u003c/p>\n\u003cp>Overall, judges look for photographs that stand out for their technical skill, creativity, composition and visual impact, Ascoli says. “Above all, I consider the photograph’s emotional and aesthetic impact, including how well it captures a moment — the perfect moment,” adding that “a great picture stops the time and raises awareness of the wonders and worries of our world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a selection of contest nominees, focusing on the Global South countries that NPR’s Goats & Soda covers. The prize winners will be announced on September 28.\u003c/p>\n\u003ch3>A pack of pelicans\u003c/h3>\n\u003cfigure id=\"attachment_13960789\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM.png\" alt=\"A gathering of scores of pelicans, all huddled together against a black background\" width=\"852\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.10.54-AM-768x1026.png 768w\" sizes=\"(max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">Pelicans gather in the wetland Estero el Soldado in Guaymas, Sonora, Mexico. The white pelicans stand out against waters darkened by sediment. \u003ccite>(Guillermo Soberón)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guillemo Soberon chanced upon this scene when he set out to document the beauty of the wetlands called Estero el soldado for the media site Mongabay. “It is a natural protected area that hosts a great biodiversity, over 400 species in 350 hectares of land, and it’s a beautiful space in my hometown, Guaymas, Sonora, México,” he says. As he was shooting wildlife with his camera, he launched his drone to capture shots of the ecosystem from above. He meant to create a “virtual tour” to showcase the beauty and importance of the wetlands and that’s when he spotted a flock of gleaming white pelicans.\u003c/p>\n\u003cp>“It was such an amazing scene, I couldn’t believe my luck,” he says. While brown pelicans are common in these parts, white pelicans are not easy to find. “I believe that the appreciation of nature is a pathway to its conservation,” Soberon says.\u003c/p>\n\u003ch3>Crossing the Darien Gap\u003c/h3>\n\u003cfigure id=\"attachment_13960791\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM.png\" alt=\"An aerial shot of a long line of people walking on a path carved out between dense forest on either side.\" width=\"1928\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM.png 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.16.35-AM-1920x1277.png 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Migrants trekking through the jungle during clandestine journeys through the Darien Gap typically endure five or six days, exposed to all kinds of harsh weather conditions. \u003ccite>(Luis Acosta/AFP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photographer at Agence France Press, Luis Acosta has on several occasions visited Darien Gap, the region that stretches from the Darien Province of Panama to Columbia. In 2023, over 500,000 people moved through the Darien Gap to migrate to the U.S.\u003c/p>\n\u003cp>In September last year, Acosta deployed a drone to capture the image. “I realized that the only way to show the magnitude of the migration through the jungle was with a drone,” he says. “The message I want to send with this image is how people’s desperation to find a better life forces them to make such dangerous journeys, sometimes risking the lives of their loved ones,” he says.\u003c/p>\n\u003ch3>Crowds at the bullfight\u003c/h3>\n\u003cfigure id=\"attachment_13960792\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM.png\" alt=\"An aerial image of a vast crowd seated in concentric circles around a central ring.\" width=\"1710\" height=\"1268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM.png 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.20.12-AM-1536x1139.png 1536w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">More than 42,000 people witness the final minutes of a bullfight in Mexico City’s Plaza México arena. \u003ccite>(Roberto Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Drone shots of crowds create interesting visual patterns, says Roberto Hernández Guerrero, a graphic designer turned photographer.\u003c/p>\n\u003cp>In February 2024, a court ruling allowed bull fights to finally return to Mexico City after a gap of two years. After the two-year ban, crowds swelled. Over 40,000 people gathered at La Monumental Plaza de Toros Mexico to watch the bulls return to the arena. And he decided to aim for a drone photo.\u003c/p>\n\u003cp>It took a week of planning and two days of drone flying to get the perfect shot. He rented the roof of the biggest building near the Plaza de Toros and from this vantage point launched his drone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Guerrero purchased his first drone camera a decade ago. “It started as a hobby,” he says. “I’ve flown a lot of different models, each with better technology and camera than the last. And while I enjoy the result, to be honest, I don’t enjoy flying drones, because it’s stressful,” he says. And that’s because he knows that whatever goes up can come crashing down too. “Some of my best photos involve flying drones over the heads of many people but that thought isn’t relaxing,” he laughs.\u003c/p>\n\u003cp>The title of this photo, \u003cem>Last Minute\u003c/em>, refers literally to the last minutes of a bull’s life. “I don’t support bullfights,” Guerrero says. “When the bull died, I almost cried, taking that last shot. But as with many aspects of my life, I respect people who think differently.” The photo, he says reflects both the pain and plight of the bulls in the arena and how they suffer, contrasting it with thousands of people who embrace the tradition.\u003c/p>\n\u003ch3>Where the Banni buffalo roam\u003c/h3>\n\u003cfigure id=\"attachment_13960793\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM.png\" alt=\"An aerial shot of a small herd of buffalo walking across red and white earth.\" width=\"1166\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-800x947.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-1020x1207.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.24.00-AM-768x909.png 768w\" sizes=\"(max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">The Banni buffalo can tolerate harsh climatic conditions, surviving on scant patches of grass and shrubs. They are commonly found in the salt marshes of India’s Thar desert. \u003ccite>(Raj Mohan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An engineer who lives in Bengaluru, India, Raj Mohan has a passion for photography and for drones that drew him to a salt marsh within the Thar desert in the western Indian state of Gujarat.\u003c/p>\n\u003cp>“Drones transform the mundane view of what we see everyday. Everything looks different from above,” Mohan says.\u003c/p>\n\u003cp>At first, he meant to seek out patterns of white salt streaks on the brown mud. However, his drone shots also caught farmers taking their Banni buffaloes out to graze in the small patches of green left. Banni buffaloes are well-adapted to survive water scarcity, frequent droughts and high temperatures.\u003c/p>\n\u003cp>“Ultimately, the resilience of these buffaloes serves as a powerful example of how life can adapt and survive under challenging conditions,” he says.\u003c/p>\n\u003ch3>A 6-mile bridge\u003c/h3>\n\u003cfigure id=\"attachment_13960794\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM.png\" alt=\"An aerial image of a highway cutting diagonally across a frozen body of water.\" width=\"1712\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM.png 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-768x575.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.26.32-AM-1536x1150.png 1536w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">The river carves out large, tree-like ravines on the mudflat along the Jiashao Bridge that extends into the East China Sea. \u003ccite>(Sheng Jiang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drone photo by middle school teacher Sheng Jiang depicts Jia Shao bridge (also called the Jiaxing-Shaoxing Sea Bridge) — stretching across the mouth of the Qiantang River in the Zhejiang Province of China. It’s one of the longest pylon cable sea bridges in the world, extending 6 miles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You can see the splendor of Chinese infrastructure,” says Jiang. She was especially fascinated by the branch-like patterns (that look like nerve endings. she says) that the river carves out in the mud flats around the bridge. In order to get the patterns in the picture which can only be seen from the air, she took the shot at midday and at low tide so the shadows of the bridge wouldn’t interfere with the image.\u003c/p>\n\u003cp>“By combining man-made structures with unique natural landscape along the Qiantang River, I hope to show a China where man and nature co-exist in harmony,” she says.\u003c/p>\n\u003ch3>Snowed-in village\u003c/h3>\n\u003cfigure id=\"attachment_13960795\" class=\"wp-caption aligncenter\" style=\"max-width: 1922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM.png\" alt=\"An aerial image of lines and squares and green patches on a white background far below.\" width=\"1922\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM.png 1922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.29.23-AM-1920x1283.png 1920w\" sizes=\"(max-width: 1922px) 100vw, 1922px\">\u003cfigcaption class=\"wp-caption-text\">The village of Kargapazari in the Bingol province of Turkey is blanketed with a layer of white snow, resembling an absract painting from this drone perspective. \u003ccite>(Hüseyin Karahan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hüseyin Karahan served as an officer in the Turkish naval forces for 30 years before retiring in 2018 and indulging in his love for photography. Karahan says, “Famous Turkish photographer Ara Güler, who made me love the art of photography, has a well-known saying: ‘\u003cem>Photos taken at random turn out better, we are happier with people we meet by chance, falling asleep in a corner is the most enjoyable sleep, unplanned activities are more fun.’\u003c/em> In short, everything that happens spontaneously is the most beautiful. These words completely summarize the photo I took,” he says.\u003c/p>\n\u003cp>On a February morning, Karahan visited the village of Kargapazari in the Bingol province of Turkey. He planned to photograph people leaving a mosque after prayers. However, their exit was delayed and so he raised his drone to the maximum height to see what it would see. At that moment, he says, the landscape looked like an abstract picture — and reminded him of how small we actually were in this big world.\u003c/p>\n\u003cp>“I love taking photos with a drone, it allows us to see things that the human eye cannot see, perhaps with the eyes of a flying bird,” says Karahan.\u003c/p>\n\u003ch3>City meets mountains\u003c/h3>\n\u003cfigure id=\"attachment_13960796\" class=\"wp-caption aligncenter\" style=\"max-width: 1930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM.png\" alt=\"The light of thousands of tiny windows in several large buildings illuminate the night sky.\" width=\"1930\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM.png 1930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1536x1003.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-09-at-11.32.51-AM-1920x1253.png 1920w\" sizes=\"(max-width: 1930px) 100vw, 1930px\">\u003cfigcaption class=\"wp-caption-text\">Guiyang City, located in Guizhou Province, China, boasts numerous towering buildings and elevated bridges that seamlessly integrate with the surrounding mountainous terrain. \u003ccite>(Xu Zhang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beijing-based Xu Zhan, who’s 64, has been in love with photography since his middle school years and is a member of the China Photographer’s Association. He started using drones for filming in 2018, captivated by the perspective it could provide to ordinary landscapes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Visiting Guiyang City in the Guizhou Province of China, he shot this photo of Qianchun Interchange bridge in July 2023. He sought to capture how the urban landscape integrates with surrounding mountainous terrain. With 11 ramps, 8 entrances and exits, and two main lines, the overpass was put into use in 2016 and is spectacular, he says. “I only took a small part of the huge overpass in this picture. The exit of the overpass between the hills draws people’s attention to the bustling city and to the dazzling lights of every household.”\u003c/p>\n\u003cp>Nighttime photography using a drone can be a challenge, he says, because of poor visibility. His top tip: “Find a good [spot] and take enough photos until you’re satisfied.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, South India. She reports on global health, science and development and has been published in ‘The New York Times,’ ‘The British Medical Journal,’ the BBC, ‘The Guardian’ and other outlets. You can find her on X: \u003c/em>\u003ca href=\"https://x.com/kamal_t?lang=en\">@Kamal_t\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Artist Stitches Stories of Family Separation at the Bolinas Museum",
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"content": "\u003cp>Family separation comes in many forms. Some, more obvious than others. Separation caused by \u003ca href=\"https://www.npr.org/2024/06/04/nx-s1-4991917/biden-executive-order-asylum-migration-border\">immigration policies\u003c/a> is currently top of mind for many North and South Americans, but that’s only one element at play in Napa-based artist Arleene Correa Valencia’s most recent exhibition, \u003cem>\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us With You\u003c/a>\u003c/em> at the Bolinas Museum.\u003c/p>\n\u003cp>[aside postID='arts_13957410']“I’ve spent my entire life searching for a physical home,” says Correa Valencia, who immigrated to the United States from Mexico at a young age. “I’m learning that maybe home is family.” For the artist, who isn’t able to have children of her own, the work in the show is also about that loss of legacy.\u003c/p>\n\u003cp>The exhibition features three interrelated bodies of work: textiles, copperplate prints and repurposed family documents — all of which either include or reference the artist’s family photographs and letters, as well as cultural traditions passed down through generations. For Correa Valencia, making art in collaboration and communion with family members serves as a way of preserving their connection.\u003c/p>\n\u003cp>Selections of family ephemera are framed in parings of snapshots and letters written by a young Correa Valencia, her mother and brother in Michoacán, to her father in the United States. The artist recalls her mother holding her hand to help her write the letters, and thinks of them as her earliest works of art. This posits separation as a genesis, the beginning of Correa Valencia’s own immigration journey and art practice.\u003c/p>\n\u003cfigure id=\"attachment_13960510\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg\" alt=\"four framed textile pieces and one large tapestry in white wall gallery space\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, photographs have been translated into black-and-white copperplate prints with additional etchings and embroideries decorating the images. These prints also feature lengthy, poetic titles, passages of text cherry-picked from the family correspondences. With their context slightly altered, they become lyric poems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A print of a man in shorts and a striped shirt, embroidered with a flower and featuring an etching of a Mayan deity, features a title telling the story of a man dying in the trunk of a car while attempting to cross the border. The text is a startling juxtaposition to an image so full of life, suggesting the ambient violence circulating the immigrant experience in the Americas.\u003c/p>\n\u003cp>Another print of a young Correa Valencia and her brother is adorned with an etching inspired by her brother’s chest tattoo. The title is a message from their mother imploring their father to care for them if anything should happen to her, especially “our baby girl.” Here again, the text creates an unconscious layer to the images, infusing it with a complex pathos.\u003c/p>\n\u003cp>The majority of the exhibition consists of 14 brightly colored wall-hanging textiles, varied in size, embroidered with figurative outlines also based on family photographs.\u003c/p>\n\u003cp>“I call them paintings,” says Correa Valencia, who trained as an oil painter through graduate school and only recently took up textile work. She learned the medium from her mother-in-law during the months of the pandemic lockdown; the pieces weave together intricate references to culture and community.\u003c/p>\n\u003cfigure id=\"attachment_13960511\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg\" alt=\"six framed textile pieces on white wall\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, the background fabric Correa Valencia adorns with her illustrations is a textile purchased in El Salvador or Mexico — or, in the case of the smaller works, tortilla napkins taken from family members’ kitchens. Many of the figures’ clothes are made from actual articles of clothing.\u003c/p>\n\u003cp>In both \u003cem>Absent\u003c/em> and \u003cem>Present\u003c/em>, embroideries on large Salvadoran fabrics featuring geometric patterns, a figure holds a child in their arms. In \u003cem>Present\u003c/em>, the adult figure is filled in with a patterned fabric, while in Absent both adult and child dissolve against the background as ghostly outlines of white thread.\u003c/p>\n\u003cp>One of the largest textiles, \u003cem>Captured: Birds in Flight\u003c/em>, features a two-toned blue background with the outlined figures of three children dressed in repurposed family clothing. Two girls pose playfully while a boy wearing the El Salvador coat of arms reaches both hands up in a dramatic gesture of surrender. Three birds, embroidered in a traditional Salvadoran decorative style, circle overhead.\u003c/p>\n\u003cp>[aside postID='arts_13867062']The lack of recognizable traits and facial features in the figures creates a sense of distance and disappearance. I get the same feeling of nostalgia when I look at a faded photograph. Correa Valencia’s works summons the intimate yearning of straining to recall a hazy memory.\u003c/p>\n\u003cp>In seamless collaboration, she blends her own embellishments into the tortilla napkins’ preexisting floral embroideries. \u003cem>Mei Mei\u003c/em> shows a woman in an N-95 mask cradling a baby, the figure sprouting from the center of a decorative flower. The image is inspired by a photo of Correa Valencia holding her niece, and it’s stitched into a napkin handmade by one of the artist’s own childhood caretakers.\u003c/p>\n\u003cp>Correa Valencia’s show made me think of the ways thread is activated in the service of memory. We tie string around our fingers to remember things. In myths across cultures, people are connected by red thread, its delicacy underscoring tenuous ties — and the ease of forgetting.\u003c/p>\n\u003cp>It also reminded me of the poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28891/separation-56d21285b2140\">Separation\u003c/a>” by W. S. Merwin: “Your absence has gone through me / Like thread through a needle. / Everything I do is stitched with its color.”\u003c/p>\n\u003cp>\u003cem>Llévanos Contigo / Take Us With You\u003c/em> makes good on Merwin’s promise that absence and presence are two sides of the same coin. Correa Valencia’s invocations of family are a celebration of connection as much as they anticipate inevitable separation — like a stitch that doubles back on itself. These aren’t threads that tie up in a neat bow, but they might be lifelines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us with You\u003c/a>’ is on view at the Bolinas Museum (48 Wharf Rd., Bolinas) through Aug. 4, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Family separation comes in many forms. Some, more obvious than others. Separation caused by \u003ca href=\"https://www.npr.org/2024/06/04/nx-s1-4991917/biden-executive-order-asylum-migration-border\">immigration policies\u003c/a> is currently top of mind for many North and South Americans, but that’s only one element at play in Napa-based artist Arleene Correa Valencia’s most recent exhibition, \u003cem>\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us With You\u003c/a>\u003c/em> at the Bolinas Museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve spent my entire life searching for a physical home,” says Correa Valencia, who immigrated to the United States from Mexico at a young age. “I’m learning that maybe home is family.” For the artist, who isn’t able to have children of her own, the work in the show is also about that loss of legacy.\u003c/p>\n\u003cp>The exhibition features three interrelated bodies of work: textiles, copperplate prints and repurposed family documents — all of which either include or reference the artist’s family photographs and letters, as well as cultural traditions passed down through generations. For Correa Valencia, making art in collaboration and communion with family members serves as a way of preserving their connection.\u003c/p>\n\u003cp>Selections of family ephemera are framed in parings of snapshots and letters written by a young Correa Valencia, her mother and brother in Michoacán, to her father in the United States. The artist recalls her mother holding her hand to help her write the letters, and thinks of them as her earliest works of art. This posits separation as a genesis, the beginning of Correa Valencia’s own immigration journey and art practice.\u003c/p>\n\u003cfigure id=\"attachment_13960510\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg\" alt=\"four framed textile pieces and one large tapestry in white wall gallery space\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, photographs have been translated into black-and-white copperplate prints with additional etchings and embroideries decorating the images. These prints also feature lengthy, poetic titles, passages of text cherry-picked from the family correspondences. With their context slightly altered, they become lyric poems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A print of a man in shorts and a striped shirt, embroidered with a flower and featuring an etching of a Mayan deity, features a title telling the story of a man dying in the trunk of a car while attempting to cross the border. The text is a startling juxtaposition to an image so full of life, suggesting the ambient violence circulating the immigrant experience in the Americas.\u003c/p>\n\u003cp>Another print of a young Correa Valencia and her brother is adorned with an etching inspired by her brother’s chest tattoo. The title is a message from their mother imploring their father to care for them if anything should happen to her, especially “our baby girl.” Here again, the text creates an unconscious layer to the images, infusing it with a complex pathos.\u003c/p>\n\u003cp>The majority of the exhibition consists of 14 brightly colored wall-hanging textiles, varied in size, embroidered with figurative outlines also based on family photographs.\u003c/p>\n\u003cp>“I call them paintings,” says Correa Valencia, who trained as an oil painter through graduate school and only recently took up textile work. She learned the medium from her mother-in-law during the months of the pandemic lockdown; the pieces weave together intricate references to culture and community.\u003c/p>\n\u003cfigure id=\"attachment_13960511\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg\" alt=\"six framed textile pieces on white wall\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, the background fabric Correa Valencia adorns with her illustrations is a textile purchased in El Salvador or Mexico — or, in the case of the smaller works, tortilla napkins taken from family members’ kitchens. Many of the figures’ clothes are made from actual articles of clothing.\u003c/p>\n\u003cp>In both \u003cem>Absent\u003c/em> and \u003cem>Present\u003c/em>, embroideries on large Salvadoran fabrics featuring geometric patterns, a figure holds a child in their arms. In \u003cem>Present\u003c/em>, the adult figure is filled in with a patterned fabric, while in Absent both adult and child dissolve against the background as ghostly outlines of white thread.\u003c/p>\n\u003cp>One of the largest textiles, \u003cem>Captured: Birds in Flight\u003c/em>, features a two-toned blue background with the outlined figures of three children dressed in repurposed family clothing. Two girls pose playfully while a boy wearing the El Salvador coat of arms reaches both hands up in a dramatic gesture of surrender. Three birds, embroidered in a traditional Salvadoran decorative style, circle overhead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The lack of recognizable traits and facial features in the figures creates a sense of distance and disappearance. I get the same feeling of nostalgia when I look at a faded photograph. Correa Valencia’s works summons the intimate yearning of straining to recall a hazy memory.\u003c/p>\n\u003cp>In seamless collaboration, she blends her own embellishments into the tortilla napkins’ preexisting floral embroideries. \u003cem>Mei Mei\u003c/em> shows a woman in an N-95 mask cradling a baby, the figure sprouting from the center of a decorative flower. The image is inspired by a photo of Correa Valencia holding her niece, and it’s stitched into a napkin handmade by one of the artist’s own childhood caretakers.\u003c/p>\n\u003cp>Correa Valencia’s show made me think of the ways thread is activated in the service of memory. We tie string around our fingers to remember things. In myths across cultures, people are connected by red thread, its delicacy underscoring tenuous ties — and the ease of forgetting.\u003c/p>\n\u003cp>It also reminded me of the poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28891/separation-56d21285b2140\">Separation\u003c/a>” by W. S. Merwin: “Your absence has gone through me / Like thread through a needle. / Everything I do is stitched with its color.”\u003c/p>\n\u003cp>\u003cem>Llévanos Contigo / Take Us With You\u003c/em> makes good on Merwin’s promise that absence and presence are two sides of the same coin. Correa Valencia’s invocations of family are a celebration of connection as much as they anticipate inevitable separation — like a stitch that doubles back on itself. These aren’t threads that tie up in a neat bow, but they might be lifelines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us with You\u003c/a>’ is on view at the Bolinas Museum (48 Wharf Rd., Bolinas) through Aug. 4, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>[aside postID='arts_13957326']The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>[aside postID='arts_13951535']“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Delicate Sculptures Are Quietly Assertive in This Et al. Show",
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"content": "\u003cp>It takes a moment to orient yourself upon walking into J Rivera Pansa’s exhibition \u003cem>\u003ca href=\"https://etaletc.com/imagers\">Imagers\u003c/a>\u003c/em> at San Francisco’s Et al. gallery. The brightness of the space’s tall white walls almost eclipses the delicate items arranged within it. Presenting works that the transdisciplinary artist has made over the past two years, the current show is their most comprehensive exhibition to date, and demonstrates how the artist’s practice has grown to encompass larger work and new materials. As your eyes adjust, the works assert themselves, reveling quietly in the power of this expanded scale. \u003c/p>\n\u003cp>[aside postID='arts_13957410']Ringing the walls of the gallery are five hanging grids composed of photo prints and X-ray film that are cut into slender rounded rectangles and then carefully linked like chain mail with metal grommets and rings. The gridded tapestries drape a few inches off the walls. As you move towards them, they stir gently in the disrupted air, giving the impression that the artwork is breathing. \u003c/p>\n\u003cp>Indeed, in \u003cem>G.M.R. x 220\u003c/em> (2024) Pansa’s use of X-ray film calls to mind imagery of body parts that are normally hidden. While the works made with photographic prints depict change on the scale of nature — through moon rises, agricultural fields and horizons — the shiny gray of the flimsy X-ray film reflects minute changes in the environment of the gallery itself. This piece, especially, makes visible an embodied subjectivity that shifts from moment to moment.\u003c/p>\n\u003cfigure id=\"attachment_13960553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000.jpg\" alt=\"hanging wall sculpture with connected segments of grid hanging in curved drape\" width=\"2000\" height=\"2239\" class=\"size-full wp-image-13960553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-800x896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1020x1142.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1372x1536.jpg 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1829x2048.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1920x2149.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">J Rivera Pansa, ‘G.M.P. x 20 (moondusk),’ 2023. \u003ccite>(Courtesy Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four low lavender platforms dominate the center of the room and frame the stained glass sculptures carefully placed on and around them. These works take the form of a three-dimensional grid and encase rounded forms of ball chains, copper grain and \u003ca href=\"https://en.wikipedia.org/wiki/Lincoln_cent\">wheat pennies\u003c/a>. It is not clear why these similarly rounded metal forms were chosen, though they do provide a pleasing contrast to the rigid structures that hold them. \u003c/p>\n\u003cp>As the photos and X-ray material respond to movement, the variously colored glass containers glimmer and reveal the objects inside as the viewer’s position shifts. Two rose-colored works and one yellow piece create a pastel tableau alongside the soft purple of the platforms. The grid is replicated throughout the space. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the largest of the floor sculptures, \u003cem>A.G.F. x 12\u003c/em> (2024) fits within this system of shapes, its various facets disrupt the show’s otherwise subdued color palette with the red, black, white, and green of the Palestinian flag. In an art world that has not hesitated to censor voices advocating for an end to the siege of Gaza and for Palestinian liberation, Pansa’s choice to include these colors is a brave political statement. \u003c/p>\n\u003cfigure id=\"attachment_13960555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000.jpg\" alt=\"Red, green, white and clear stained-glass grid sculpture on lavender platform\" width=\"2000\" height=\"1348\" class=\"size-full wp-image-13960555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1920x1294.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">J Rivera Pansa, ‘A.G.F. x 12,’ 2024. \u003ccite>(Courtesy Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Placed on a platform whose lavender color was once a slur as well as a covert signal of queerness, the gesture also speaks to the dangers of visibility, which can bring as much violence as positive change. \u003c/p>\n\u003cp>In this light, seemingly formal choices such as the repeated grid and alphanumeric titles can be seen as guides that provide structure whether or not meaning is revealed. The mystery and indeterminacy that suffuses Pansa’s work is not indicative of a lack of depth. Rather, it shields what is most vulnerable. \u003c/p>\n\u003cp>It feels particularly fitting that Pansa has used chain mail and stained glass in these pieces, both centuries-old craft techniques that evoke histories of protection and faith as well as pain and judgment. \u003cem>Imagers\u003c/em> reminds us that we have always found ways to express our complex humanity — no matter how much that humanity feels at odds with a world of binary definitions.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://etaletc.com/imagers\">Imagers\u003c/a>’ is on view at Et al. (2831A Mission St., San Francisco) through July 20, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ringing the walls of the gallery are five hanging grids composed of photo prints and X-ray film that are cut into slender rounded rectangles and then carefully linked like chain mail with metal grommets and rings. The gridded tapestries drape a few inches off the walls. As you move towards them, they stir gently in the disrupted air, giving the impression that the artwork is breathing. \u003c/p>\n\u003cp>Indeed, in \u003cem>G.M.R. x 220\u003c/em> (2024) Pansa’s use of X-ray film calls to mind imagery of body parts that are normally hidden. While the works made with photographic prints depict change on the scale of nature — through moon rises, agricultural fields and horizons — the shiny gray of the flimsy X-ray film reflects minute changes in the environment of the gallery itself. This piece, especially, makes visible an embodied subjectivity that shifts from moment to moment.\u003c/p>\n\u003cfigure id=\"attachment_13960553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000.jpg\" alt=\"hanging wall sculpture with connected segments of grid hanging in curved drape\" width=\"2000\" height=\"2239\" class=\"size-full wp-image-13960553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-800x896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1020x1142.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1372x1536.jpg 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1829x2048.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/G.M.P.-x-20-moondusk_2000-1920x2149.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">J Rivera Pansa, ‘G.M.P. x 20 (moondusk),’ 2023. \u003ccite>(Courtesy Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four low lavender platforms dominate the center of the room and frame the stained glass sculptures carefully placed on and around them. These works take the form of a three-dimensional grid and encase rounded forms of ball chains, copper grain and \u003ca href=\"https://en.wikipedia.org/wiki/Lincoln_cent\">wheat pennies\u003c/a>. It is not clear why these similarly rounded metal forms were chosen, though they do provide a pleasing contrast to the rigid structures that hold them. \u003c/p>\n\u003cp>As the photos and X-ray material respond to movement, the variously colored glass containers glimmer and reveal the objects inside as the viewer’s position shifts. Two rose-colored works and one yellow piece create a pastel tableau alongside the soft purple of the platforms. The grid is replicated throughout the space. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the largest of the floor sculptures, \u003cem>A.G.F. x 12\u003c/em> (2024) fits within this system of shapes, its various facets disrupt the show’s otherwise subdued color palette with the red, black, white, and green of the Palestinian flag. In an art world that has not hesitated to censor voices advocating for an end to the siege of Gaza and for Palestinian liberation, Pansa’s choice to include these colors is a brave political statement. \u003c/p>\n\u003cfigure id=\"attachment_13960555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000.jpg\" alt=\"Red, green, white and clear stained-glass grid sculpture on lavender platform\" width=\"2000\" height=\"1348\" class=\"size-full wp-image-13960555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/A.G.F.-x-12_2000-1920x1294.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">J Rivera Pansa, ‘A.G.F. x 12,’ 2024. \u003ccite>(Courtesy Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Placed on a platform whose lavender color was once a slur as well as a covert signal of queerness, the gesture also speaks to the dangers of visibility, which can bring as much violence as positive change. \u003c/p>\n\u003cp>In this light, seemingly formal choices such as the repeated grid and alphanumeric titles can be seen as guides that provide structure whether or not meaning is revealed. The mystery and indeterminacy that suffuses Pansa’s work is not indicative of a lack of depth. Rather, it shields what is most vulnerable. \u003c/p>\n\u003cp>It feels particularly fitting that Pansa has used chain mail and stained glass in these pieces, both centuries-old craft techniques that evoke histories of protection and faith as well as pain and judgment. \u003cem>Imagers\u003c/em> reminds us that we have always found ways to express our complex humanity — no matter how much that humanity feels at odds with a world of binary definitions.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://etaletc.com/imagers\">Imagers\u003c/a>’ is on view at Et al. (2831A Mission St., San Francisco) through July 20, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13960288\" class=\"wp-caption aligncenter\" style=\"max-width: 1741px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg\" alt=\"\" width=\"1741\" height=\"1920\" class=\"size-full wp-image-13960288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1020x1125.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-768x847.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1393x1536.jpg 1393w\" sizes=\"(max-width: 1741px) 100vw, 1741px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Thiebaud, ‘Untitled (Paint Can),’ 1983. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sebastopol is a small town of big dualities.\u003c/p>\n\u003cp>Situated in West Sonoma County, the town of 7,000 champions environmentalism — signs at the entrance to town read “Nuclear-Free Zone” — while its bike-unfriendly downtown is increasingly crowded with SUVs. It’s resisted the Wine Country branding of nearby tourist towns like Healdsburg, even as its once-famous apple orchards have nearly all been converted to vineyards. \u003c/p>\n\u003cp>It’s not too surprising, then, that for the past 11 years, the \u003ca href=\"https://www.sebarts.org/\">Sebastopol Center for the Arts\u003c/a> has shared space with the local chapter of Veterans of Foreign Wars. The last time I visited the building, in fact, it was not for art, but the military funeral of a retired Marine. In the park just over the fence from the procession of rifles and flags, a “Peacetown” concert with twirling dancers and hippie vibes was getting underway. That’s Sebastopol for you.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> surprising is that this small arts center in a mostly rural town has managed to assemble one of the most impressive group shows of modern art I’ve ever seen in Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13960286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg\" alt=\"\" width=\"1920\" height=\"1927\" class=\"size-full wp-image-13960286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1530x1536.jpg 1530w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Two Birds,’ 2009. \u003ccite>(Sebastopol Center for the Arts / Collection of Dinah and James Costello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reverberations 3\u003c/em> brings together works by major figures like Wayne Thiebaud, Edward Hopper, Richard Diebenkorn, Kara Walker and Ed Ruscha, many never before exhibited. Complementing them is work from contemporary Bay Area artists like Saif Azzuz, Alicia McCarthy and Maria de los Angeles. And, speaking of dualities, each work is accompanied by a poem — a presentation known as ekphrasis — that adds another layer to each artwork. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While this is the third time the center has presented Reverberations, says Executive Director Serafina Palandech, “this is bigger and better than anything I think any of us had ever envisioned.” \u003c/p>\n\u003cp>Part of that is due to the dogged persistence of curator Alan Porter, who says he was “shameless” in asking people for work, everywhere he went.\u003c/p>\n\u003cfigure id=\"attachment_13960284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg\" alt=\"\" width=\"1920\" height=\"1631\" class=\"size-full wp-image-13960284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1536x1305.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edward Hopper, ‘Night Shadows,’ 1921. \u003ccite>(Sebastopol Center for the Arts / Collection of Jack Leissring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An announcement in his pilates class led him to the daughter of New York gallery owner Allan Stone, who provided a 1983 Wayne Thiebaud painting, \u003cem>Untitled (Paint Can)\u003c/em>, as well as a 1963 charcoal drawing by Willem de Kooning. Another call for art at a birthday party led to a woman who provided a photograph by Dorothea Lange. \u003c/p>\n\u003cp>“She knew this guy for years and years, he was in his 90s, and he gave her this photograph,” Porter says. “He didn’t even know that it was by Dorothea Lange. When she went to have it framed, they said, ‘You know, this is a Dorothea Lange.’ She went and talked to him about it and he said, ‘Oh, yeah, she was a neighbor of my mother’s.’”\u003c/p>\n\u003cfigure id=\"attachment_13960287\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg\" alt=\"\" width=\"1759\" height=\"1920\" class=\"size-full wp-image-13960287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-800x873.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1020x1113.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-768x838.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1407x1536.jpg 1407w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Matt Small, ‘Omar,’ 2012. \u003ccite>(Sebastopol Center for the Arts / Collection of Alan Beckstead and Danny Lerma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The task of pairing the artwork with poets fell to Linda Loveland Reid, who talks excitedly of the “double adventure” the viewer can have with the exhibition. The poetry, she says, “deepens their experience.”\u003c/p>\n\u003cp>While previewing the exhibition, I came upon a lithograph by Babara Hepworth, a pleasing spare grid with black and red trapezoids and an empty circle. It was joined by a Margaret Barkley poem that begins: “I am so tired of war.”\u003c/p>\n\u003cp>I impulsively laughed at the re-contextualization. I thought: \u003cem>Are the red and black shapes opposing countries? Is the grid a jagged, unwinnable game of tic-tac-toe? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960285\" class=\"wp-caption aligncenter\" style=\"max-width: 1361px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg\" alt=\"\" width=\"1361\" height=\"1920\" class=\"size-full wp-image-13960285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-800x1129.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1020x1439.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-768x1083.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1089x1536.jpg 1089w\" sizes=\"(max-width: 1361px) 100vw, 1361px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘Your Space Gravure,’ 2006. \u003ccite>(Sebastopol Center for the Arts / Collection of Mari Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamsin Spencer Smith, a participating poet who also wrote \u003cem>Reverberations 3\u003c/em>’s program notes, says the empathetic process of writing poetry from another’s artwork is in line with the democratic process, and even Sonoma County’s rich history of communal living. She likens it to visiting a foreign country, and coming to understand others outside one’s own culture. \u003c/p>\n\u003cp>“That dialogue is about breaking down the walls between what we think we know, what we think we love, what we think we understand, and developing more of a mutuality and sense of connectedness to people that may not be with us anymore, or that may have lived in a time that’s very different from our own,” Smith says.\u003c/p>\n\u003cp>A large painting by Hung Liu, \u003cem>Onion Field\u003c/em>, is accompanied by a rumination by Suzanne Maxson on the artist’s time spent in Chinese labor camps. Vija Celmins’ \u003cem>Constellation – Uccello\u003c/em> inspires a meditation on destiny from poet Nancy Caver Dougherty. For Joan Brown’s \u003cem>Anna\u003c/em>, poet Robin Gabbert focuses on the artist’s first name, and the image of a bare woman in repose, to compose an ode to Joan of Arc.\u003c/p>\n\u003cfigure id=\"attachment_13960202\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg\" alt=\"\" width=\"1920\" height=\"1445\" class=\"size-full wp-image-13960202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1536x1156.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Shemesh, ‘Criss-Cross,’ 1995. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each work’s wall text, meanwhile, is not a formal statement by the curator but a statement from the owner of each work, describing what it’s like to live with the art, and what it means to them. On the whole, I found these simpler and more relatable than the usual academic assessments, and considered the question: How do we choose which art to hang on our walls? Why do we choose to live among art at all? \u003c/p>\n\u003cp>\u003cem>Reverberations 3\u003c/em> comes at a pivotal time for the center. After a rough patch of fiscal losses and a subsequent \u003ca href=\"https://www.pressdemocrat.com/article/entertainment/sebastopol-center-for-the-arts-starts-major-fundraising-drive/\">fundraising drive\u003c/a>, Palandech came aboard last year as the executive director. Her primary job, she says, was to right the ship. The community-supported center and its new staff have now reinstated its literary arts program, and will bring back its Sebastopol Documentary Film Festival next year. The higher profile of \u003cem>Reverberations 3\u003c/em>, meanwhile, represents new life for the space.\u003c/p>\n\u003cp>It also represents the local community’s faith in the nonprofit’s future. Palandech tells an illustrative story: After learning how expensive professional art movers were, exhibition organizers asked the owners of often very valuable artworks if they could throw them in their cars and drop them off themselves. All but one said yes.\u003c/p>\n\u003cp>You could call it a triumph of small-town sensibility, even. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Reverberations 3’ is on view through Aug. 10 at the Sebastopol Center for the Arts (282 S. High St., Sebastopol). \u003ca href=\"https://www.sebarts.org/reverberations\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960288\" class=\"wp-caption aligncenter\" style=\"max-width: 1741px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg\" alt=\"\" width=\"1741\" height=\"1920\" class=\"size-full wp-image-13960288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1020x1125.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-768x847.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1393x1536.jpg 1393w\" sizes=\"(max-width: 1741px) 100vw, 1741px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Thiebaud, ‘Untitled (Paint Can),’ 1983. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sebastopol is a small town of big dualities.\u003c/p>\n\u003cp>Situated in West Sonoma County, the town of 7,000 champions environmentalism — signs at the entrance to town read “Nuclear-Free Zone” — while its bike-unfriendly downtown is increasingly crowded with SUVs. It’s resisted the Wine Country branding of nearby tourist towns like Healdsburg, even as its once-famous apple orchards have nearly all been converted to vineyards. \u003c/p>\n\u003cp>It’s not too surprising, then, that for the past 11 years, the \u003ca href=\"https://www.sebarts.org/\">Sebastopol Center for the Arts\u003c/a> has shared space with the local chapter of Veterans of Foreign Wars. The last time I visited the building, in fact, it was not for art, but the military funeral of a retired Marine. In the park just over the fence from the procession of rifles and flags, a “Peacetown” concert with twirling dancers and hippie vibes was getting underway. That’s Sebastopol for you.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> surprising is that this small arts center in a mostly rural town has managed to assemble one of the most impressive group shows of modern art I’ve ever seen in Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13960286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg\" alt=\"\" width=\"1920\" height=\"1927\" class=\"size-full wp-image-13960286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1530x1536.jpg 1530w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Two Birds,’ 2009. \u003ccite>(Sebastopol Center for the Arts / Collection of Dinah and James Costello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reverberations 3\u003c/em> brings together works by major figures like Wayne Thiebaud, Edward Hopper, Richard Diebenkorn, Kara Walker and Ed Ruscha, many never before exhibited. Complementing them is work from contemporary Bay Area artists like Saif Azzuz, Alicia McCarthy and Maria de los Angeles. And, speaking of dualities, each work is accompanied by a poem — a presentation known as ekphrasis — that adds another layer to each artwork. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While this is the third time the center has presented Reverberations, says Executive Director Serafina Palandech, “this is bigger and better than anything I think any of us had ever envisioned.” \u003c/p>\n\u003cp>Part of that is due to the dogged persistence of curator Alan Porter, who says he was “shameless” in asking people for work, everywhere he went.\u003c/p>\n\u003cfigure id=\"attachment_13960284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg\" alt=\"\" width=\"1920\" height=\"1631\" class=\"size-full wp-image-13960284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1536x1305.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edward Hopper, ‘Night Shadows,’ 1921. \u003ccite>(Sebastopol Center for the Arts / Collection of Jack Leissring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An announcement in his pilates class led him to the daughter of New York gallery owner Allan Stone, who provided a 1983 Wayne Thiebaud painting, \u003cem>Untitled (Paint Can)\u003c/em>, as well as a 1963 charcoal drawing by Willem de Kooning. Another call for art at a birthday party led to a woman who provided a photograph by Dorothea Lange. \u003c/p>\n\u003cp>“She knew this guy for years and years, he was in his 90s, and he gave her this photograph,” Porter says. “He didn’t even know that it was by Dorothea Lange. When she went to have it framed, they said, ‘You know, this is a Dorothea Lange.’ She went and talked to him about it and he said, ‘Oh, yeah, she was a neighbor of my mother’s.’”\u003c/p>\n\u003cfigure id=\"attachment_13960287\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg\" alt=\"\" width=\"1759\" height=\"1920\" class=\"size-full wp-image-13960287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-800x873.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1020x1113.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-768x838.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1407x1536.jpg 1407w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Matt Small, ‘Omar,’ 2012. \u003ccite>(Sebastopol Center for the Arts / Collection of Alan Beckstead and Danny Lerma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The task of pairing the artwork with poets fell to Linda Loveland Reid, who talks excitedly of the “double adventure” the viewer can have with the exhibition. The poetry, she says, “deepens their experience.”\u003c/p>\n\u003cp>While previewing the exhibition, I came upon a lithograph by Babara Hepworth, a pleasing spare grid with black and red trapezoids and an empty circle. It was joined by a Margaret Barkley poem that begins: “I am so tired of war.”\u003c/p>\n\u003cp>I impulsively laughed at the re-contextualization. I thought: \u003cem>Are the red and black shapes opposing countries? Is the grid a jagged, unwinnable game of tic-tac-toe? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960285\" class=\"wp-caption aligncenter\" style=\"max-width: 1361px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg\" alt=\"\" width=\"1361\" height=\"1920\" class=\"size-full wp-image-13960285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-800x1129.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1020x1439.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-768x1083.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1089x1536.jpg 1089w\" sizes=\"(max-width: 1361px) 100vw, 1361px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘Your Space Gravure,’ 2006. \u003ccite>(Sebastopol Center for the Arts / Collection of Mari Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamsin Spencer Smith, a participating poet who also wrote \u003cem>Reverberations 3\u003c/em>’s program notes, says the empathetic process of writing poetry from another’s artwork is in line with the democratic process, and even Sonoma County’s rich history of communal living. She likens it to visiting a foreign country, and coming to understand others outside one’s own culture. \u003c/p>\n\u003cp>“That dialogue is about breaking down the walls between what we think we know, what we think we love, what we think we understand, and developing more of a mutuality and sense of connectedness to people that may not be with us anymore, or that may have lived in a time that’s very different from our own,” Smith says.\u003c/p>\n\u003cp>A large painting by Hung Liu, \u003cem>Onion Field\u003c/em>, is accompanied by a rumination by Suzanne Maxson on the artist’s time spent in Chinese labor camps. Vija Celmins’ \u003cem>Constellation – Uccello\u003c/em> inspires a meditation on destiny from poet Nancy Caver Dougherty. For Joan Brown’s \u003cem>Anna\u003c/em>, poet Robin Gabbert focuses on the artist’s first name, and the image of a bare woman in repose, to compose an ode to Joan of Arc.\u003c/p>\n\u003cfigure id=\"attachment_13960202\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg\" alt=\"\" width=\"1920\" height=\"1445\" class=\"size-full wp-image-13960202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1536x1156.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Shemesh, ‘Criss-Cross,’ 1995. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each work’s wall text, meanwhile, is not a formal statement by the curator but a statement from the owner of each work, describing what it’s like to live with the art, and what it means to them. On the whole, I found these simpler and more relatable than the usual academic assessments, and considered the question: How do we choose which art to hang on our walls? Why do we choose to live among art at all? \u003c/p>\n\u003cp>\u003cem>Reverberations 3\u003c/em> comes at a pivotal time for the center. After a rough patch of fiscal losses and a subsequent \u003ca href=\"https://www.pressdemocrat.com/article/entertainment/sebastopol-center-for-the-arts-starts-major-fundraising-drive/\">fundraising drive\u003c/a>, Palandech came aboard last year as the executive director. Her primary job, she says, was to right the ship. The community-supported center and its new staff have now reinstated its literary arts program, and will bring back its Sebastopol Documentary Film Festival next year. The higher profile of \u003cem>Reverberations 3\u003c/em>, meanwhile, represents new life for the space.\u003c/p>\n\u003cp>It also represents the local community’s faith in the nonprofit’s future. Palandech tells an illustrative story: After learning how expensive professional art movers were, exhibition organizers asked the owners of often very valuable artworks if they could throw them in their cars and drop them off themselves. All but one said yes.\u003c/p>\n\u003cp>You could call it a triumph of small-town sensibility, even. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reverberations 3’ is on view through Aug. 10 at the Sebastopol Center for the Arts (282 S. High St., Sebastopol). \u003ca href=\"https://www.sebarts.org/reverberations\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Exploratorium, the 55-year-old San Francisco institution full of frenetic energy, hands-on science and roving gangs of ecstatic children, might not seem like a place for visual art. And it’s true this museum doesn’t contain the sort of white-walled, hushed gallery spaces you find in certain cultural institutions. \u003c/p>\n\u003cp>But what the Exploratorium does provide in terms of a viewing environment is perhaps more immediate and compelling: art that is accessible to all ages, and finds guests in the midst of other discoveries to broaden their understanding of what art is.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>\u003c/i>, the museum’s newest exhibition of seven artists and collectives, meets all of the above criteria. Tied together by bright pink signage and lighting across several zones of the museum, this is a show of artwork made from everyday materials. The artists have taken cotton balls, wooden blocks, Lego bricks, burned-out lightbulbs and so much yarn, and turned them into sculptures, installations and interactive artworks.\u003c/p>\n\u003cp>Some of the pleasure in \u003ci>ExtraOrdinary!\u003c/i> comes from seeing generally available materials achieve surprising shifts in scale. The Slow Art Collective’s \u003ci>Bamboo Weaving Star\u003c/i>, a massive shelter-like structure made from criss-crossing poles and dangling yarn, invites visitors to weave, braid and knot to their heart’s content. The project is a bit like making potholders and friendship bracelets for giants; its cozy ambiance offers a calm area for focused activity within the bustle of the museum.\u003c/p>\n\u003cfigure id=\"attachment_13960089\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg\" alt=\"People walk under hanging strings in rainbow colors\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors under HOTTEA’s ‘Analog Technicolor,’ 2024. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along the museum’s long pier, HOTTEA’s yarn installation, a three-dimensional “color picker” from the world of digital design, hangs from a wire grid near the pier’s ceiling, dangling single strings in nearly every shade imaginable over the heads of those walking or lounging below. In this part of the museum, with its taller ceiling and less dense exhibits, \u003ci>Analog Technicolor\u003c/i> acts like a diffuse color bath, a bit of soothing amid all the ongoing stimulation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the other end of the experiential spectrum (pun intended), \u003ci>ExtraOrdinary!\u003c/i> demonstrates how magnitude can yield an audible, physical presence. Zimoun’s \u003ci>405 prepared dc motors, cotton balls, cardboard boxes 46x46x46\u003c/i> creates a wall of sound, as its title signals, with cotton balls and cardboard boxes. Small motors that originally wound up window shades send the cotton balls on a tight back-and-forth arc lighty pounding against the empty cubes. Together the 405 drums create a chamber of deep tectonic rumbling.\u003c/p>\n\u003cp>If one half of the show is about experiments in scale, the other half is about the kind of alchemy artists achieve with everyday materials, taking recognizable things and turning them, convincingly, into something completely different. \u003c/p>\n\u003cfigure id=\"attachment_13960088\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg\" alt=\"People walk past a wall display of lit wooden blocks that create a shadow silhouette\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kumi Yamashita’s ‘Building Blocks,’ 2014. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most stunning of these is Kumi Yamashita’s \u003ci>Building Blocks\u003c/i>, a simple wall installation of custom-made wooden blocks — the arches, cylinders and cubes used to build imaginary cities — that, when arranged and lit just so, create a child’s silhouette. The entire display evokes a near magical feeling: hard edges become the soft curves of a face, 3D abstract objects morph into an immediately recognizable 2D thing. \u003c/p>\n\u003cp>Similar transmutations take place in Caitlind r.c. Brown and Wayne Garrett’s \u003ci>CLOUD\u003c/i> (light bulbs become a lightning-filled storm cloud) and Ekow Nimako’s \u003ci>Building Black Mythos: DIVINITIES\u003c/i> (ordinary Lego bricks become figures from African mythology).\u003c/p>\n\u003cp>But it’s Willie Cole’s \u003ci>Masks\u003c/i> that are the most fun of the “transformation” bunch. The artist takes shoes found in thrift stores and reassembles them into charismatic, dragon-like masks. As you look at them, Cole’s sculptures play a delightful perceptual game, bouncing back and forth between individual parts and their new identity as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13960086\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg\" alt=\"Two people stand in front of sculptures made of used shoes\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors in front of Willie Cole’s ‘Masks.’ \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Exploratorium fashion, \u003ci>ExtraOrdinary!\u003c/i> also extends into hands-on activities in the museum’s Pop-Up Workshop. In collaboration with Community Science Workshops, visitors can make their own mini, DIY versions of popular Exploratorium exhibits (including a variation on Ned Kahn’s \u003ci>\u003ca href=\"https://www.exploratorium.edu/exhibits/cloud-rings\">Cloud Rings\u003c/a>\u003c/i>) using low-cost materials. These instructions are also available online.\u003c/p>\n\u003cp>Artists know there is no such thing as an “off-limit” material in the realm of visual art. Food, earth, animals, their own bodies — it’s all fair game when it comes to expression. But most visitors to the Exploratorium, especially the youngest of the bunch, may think of art as a block of time in their school day, one that involves pencils, paint and paper. \u003ci>ExtraOrdinary!\u003c/i> is an introduction to the vast artistic possibilities inherent in even the most commonplace stuff, and an invitation to start thinking of that stuff in a different, transformative way. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>’ in on view at the Exploratorium (Pier 15, San Francisco) through Sept. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Exploratorium, the 55-year-old San Francisco institution full of frenetic energy, hands-on science and roving gangs of ecstatic children, might not seem like a place for visual art. And it’s true this museum doesn’t contain the sort of white-walled, hushed gallery spaces you find in certain cultural institutions. \u003c/p>\n\u003cp>But what the Exploratorium does provide in terms of a viewing environment is perhaps more immediate and compelling: art that is accessible to all ages, and finds guests in the midst of other discoveries to broaden their understanding of what art is.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>\u003c/i>, the museum’s newest exhibition of seven artists and collectives, meets all of the above criteria. Tied together by bright pink signage and lighting across several zones of the museum, this is a show of artwork made from everyday materials. The artists have taken cotton balls, wooden blocks, Lego bricks, burned-out lightbulbs and so much yarn, and turned them into sculptures, installations and interactive artworks.\u003c/p>\n\u003cp>Some of the pleasure in \u003ci>ExtraOrdinary!\u003c/i> comes from seeing generally available materials achieve surprising shifts in scale. The Slow Art Collective’s \u003ci>Bamboo Weaving Star\u003c/i>, a massive shelter-like structure made from criss-crossing poles and dangling yarn, invites visitors to weave, braid and knot to their heart’s content. The project is a bit like making potholders and friendship bracelets for giants; its cozy ambiance offers a calm area for focused activity within the bustle of the museum.\u003c/p>\n\u003cfigure id=\"attachment_13960089\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg\" alt=\"People walk under hanging strings in rainbow colors\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors under HOTTEA’s ‘Analog Technicolor,’ 2024. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along the museum’s long pier, HOTTEA’s yarn installation, a three-dimensional “color picker” from the world of digital design, hangs from a wire grid near the pier’s ceiling, dangling single strings in nearly every shade imaginable over the heads of those walking or lounging below. In this part of the museum, with its taller ceiling and less dense exhibits, \u003ci>Analog Technicolor\u003c/i> acts like a diffuse color bath, a bit of soothing amid all the ongoing stimulation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the other end of the experiential spectrum (pun intended), \u003ci>ExtraOrdinary!\u003c/i> demonstrates how magnitude can yield an audible, physical presence. Zimoun’s \u003ci>405 prepared dc motors, cotton balls, cardboard boxes 46x46x46\u003c/i> creates a wall of sound, as its title signals, with cotton balls and cardboard boxes. Small motors that originally wound up window shades send the cotton balls on a tight back-and-forth arc lighty pounding against the empty cubes. Together the 405 drums create a chamber of deep tectonic rumbling.\u003c/p>\n\u003cp>If one half of the show is about experiments in scale, the other half is about the kind of alchemy artists achieve with everyday materials, taking recognizable things and turning them, convincingly, into something completely different. \u003c/p>\n\u003cfigure id=\"attachment_13960088\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg\" alt=\"People walk past a wall display of lit wooden blocks that create a shadow silhouette\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kumi Yamashita’s ‘Building Blocks,’ 2014. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most stunning of these is Kumi Yamashita’s \u003ci>Building Blocks\u003c/i>, a simple wall installation of custom-made wooden blocks — the arches, cylinders and cubes used to build imaginary cities — that, when arranged and lit just so, create a child’s silhouette. The entire display evokes a near magical feeling: hard edges become the soft curves of a face, 3D abstract objects morph into an immediately recognizable 2D thing. \u003c/p>\n\u003cp>Similar transmutations take place in Caitlind r.c. Brown and Wayne Garrett’s \u003ci>CLOUD\u003c/i> (light bulbs become a lightning-filled storm cloud) and Ekow Nimako’s \u003ci>Building Black Mythos: DIVINITIES\u003c/i> (ordinary Lego bricks become figures from African mythology).\u003c/p>\n\u003cp>But it’s Willie Cole’s \u003ci>Masks\u003c/i> that are the most fun of the “transformation” bunch. The artist takes shoes found in thrift stores and reassembles them into charismatic, dragon-like masks. As you look at them, Cole’s sculptures play a delightful perceptual game, bouncing back and forth between individual parts and their new identity as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13960086\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg\" alt=\"Two people stand in front of sculptures made of used shoes\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors in front of Willie Cole’s ‘Masks.’ \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Exploratorium fashion, \u003ci>ExtraOrdinary!\u003c/i> also extends into hands-on activities in the museum’s Pop-Up Workshop. In collaboration with Community Science Workshops, visitors can make their own mini, DIY versions of popular Exploratorium exhibits (including a variation on Ned Kahn’s \u003ci>\u003ca href=\"https://www.exploratorium.edu/exhibits/cloud-rings\">Cloud Rings\u003c/a>\u003c/i>) using low-cost materials. These instructions are also available online.\u003c/p>\n\u003cp>Artists know there is no such thing as an “off-limit” material in the realm of visual art. Food, earth, animals, their own bodies — it’s all fair game when it comes to expression. But most visitors to the Exploratorium, especially the youngest of the bunch, may think of art as a block of time in their school day, one that involves pencils, paint and paper. \u003ci>ExtraOrdinary!\u003c/i> is an introduction to the vast artistic possibilities inherent in even the most commonplace stuff, and an invitation to start thinking of that stuff in a different, transformative way. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>’ in on view at the Exploratorium (Pier 15, San Francisco) through Sept. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It wasn’t exactly a park day. Wind whipped across the Presidio Tunnel Tops. The Golden Gate Bridge was completely hidden by a bank of thick fog. But just east of the Presidio Visitor Center, where park-goers waited for the 43 bus or Presidio GO shuttle, bright botanical designs spread across the sidewalk, piercing San Francisco’s version of summer. A team of Presidio staff posed for pictures over the just-completed artwork, grins spread across their faces.\u003c/p>\n\u003cp>A planned three-day installation had been completed in just one day, and the decals by Oakland artist \u003ca href=\"https://toshastimage.com/\">Tosha Stimage\u003c/a>, the culmination of four months of research, site visits, community feedback and design work, were complete.\u003c/p>\n\u003cp>Stimage’s artwork, \u003ci>\u003ca href=\"https://presidio.gov/about/community/art\">SUPERBLOOMS\u003c/a>\u003c/i>, joins two previous sidewalk installations by \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a> and \u003ca href=\"https://www.instagram.com/feliciagabaldonart/\">Felicia Gabaldon\u003c/a> as part of the Presidio’s \u003cem>Ancestral Futurism\u003c/em> Public Art Mentorship for emerging and mid-career BIPOC artists. Rodriguez drew from her own experience of working with the Presidio to assume a coaching role, guiding Gabaldon and Stimage through the creation of their temporary public art installations. \u003c/p>\n\u003cfigure id=\"attachment_13959944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000.jpg\" alt=\"person in safety vests leans over as another person points to large decal on sidewalk\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage during the installation of ‘SUPERBLOOMS.’ \u003ccite>(Ariel Robins/Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Rodriguez and Gabaldon included native animals in their designs, Stimage, the founder of \u003ca href=\"https://www.saintflora.com/\">SAINTFLORA\u003c/a>, a floral design company that specializes in buoyant and dramatic arrangements, was the first artist to focus solely on the park’s botanic species. Rendered alone or set against circles of yellow, fuschia and gold, Stimage’s punchy designs depict the Chilean strawberry, California poppy and Checkerbloom.\u003c/p>\n\u003cp>Their vividness is by design.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13877846,arts_13422254']Rodriguez says park staff have worked hard to make the Presidio a destination not just for nearby neighborhoods (some of San Francisco’s wealthiest), but for the entire Bay Area. “They were like, that’s not the kind of park we want to have,” she says. “And so they began to engage in a process, including having relationships with community partners.”\u003c/p>\n\u003cp>Rodriguez joined the Presidio’s 13-member Activator Council in 2021, bringing with her a belief that art and culture can create welcoming spaces. “I was like, honestly, I never come to this park,” Rodriguez remembers saying. “This park is so white and there’s no color here. Seriously, just color will disrupt this sterile-ass park. And they were like, ‘OK, we’re down.’”\u003c/p>\n\u003cp>For Stimage, her time working on \u003ci>SUPERBLOOMS\u003c/i> has been one of deep immersion in the daily workings of the Presidio. “It was really cool to have access,” she says. “A big part of all of this is creating space, creating opportunities where people who don’t traditionally show up in these spaces get to know that [the park is] there.”\u003c/p>\n\u003cfigure id=\"attachment_13959943\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000.jpg\" alt=\"Two people pose smiling with Golden Gate Bride in background\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage and Favianna Rodriguez at the Presidio. \u003ccite>(Felipe Romero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking to Presidio ecologists in particular allowed Stimage to look at her own floral practice through a different lens. The species she highlighted in her designs are united by their extreme resilience. “The strawberry is one of my favorites because of that reason,” she says. “It’s a badass plant. It’s evolved over time in spite of the violence done in the spaces where it needs to be.”\u003c/p>\n\u003cp>Info panels provide details about each species in excited and easy to understand language. (Exclamation marks abound.) Stimage wants to make such knowledge accessible to all park visitors, including the very young. \u003c/p>\n\u003cp>“It may be a sticker on the top of the surface,” she says, “but maybe that person learned how to identify a plant, and then maybe it makes them curious enough to go and see where that thing lives and learn about its habitat and learn all the medicinal properties or how to engage with it properly.”\u003c/p>\n\u003cp>“All these things are little revolutions, too, that I think are super important,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_13959948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000.jpg\" alt=\"view of sidewalk with large orange decal and depictions of strawberry plant\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another view of ‘SUPERBLOOMS’ with Chilean strawberries featured prominently. \u003ccite>(Ariel Robins/Parks Concervancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Rodriguez, Stimage’s approach embodied \u003ci>Ancestral Futurism\u003c/i> as a whole. (The project’s subtitle is “Looking Back to Repair the Future.”) Her many site visits, her flower deliveries, her desire to truly learn from the experts working behind the scenes at the park — Rodriguez says Stimage set a new bar for artists moving forward. \u003c/p>\n\u003cp>Coming from West Oakland to the Presidio, even to just sit on the grass and read a book, Stimage says, has been a nourishing experience.\u003c/p>\n\u003cp>“When we’re talking about equity and inclusion, it requires artists who can both make those connections, but also actually enjoy the beauty that is here,” says Rodriguez.\u003c/p>\n\u003cp>The Tunnel Tops are nearly two years old. Plantings have leafed out, the playground is broken in. It could be easy to see the Presidio’s newest recreation area as settled, fixed. But \u003ci>SUPERBLOOMS\u003c/i> pops out of that landscape in sunset-hued circles. It calls attention to itself and its subject matter in joyful celebration. \u003c/p>\n\u003cp>As I left the Presidio, wrestling my car door against a heavy gale, I looked down at the plants growing alongside the curb. Were these? Could it be? I bent down and lifted a few small leaves to reveal tiny red fruits. Wild strawberries.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘SUPERBLOOMS’ is now on view between the Presidio Transit Center and the Picnic Pavilion. A \u003ca href=\"https://presidio.gov/explore/events/superblooms-launch-party\">public launch event\u003c/a> takes place July 14, 12–3 p.m. at the Presidio Tunnel Tops with all-ages art activities, a floral installation, free plant starters, music and a show-and-tell by Presidio nursery staff.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t exactly a park day. Wind whipped across the Presidio Tunnel Tops. The Golden Gate Bridge was completely hidden by a bank of thick fog. But just east of the Presidio Visitor Center, where park-goers waited for the 43 bus or Presidio GO shuttle, bright botanical designs spread across the sidewalk, piercing San Francisco’s version of summer. A team of Presidio staff posed for pictures over the just-completed artwork, grins spread across their faces.\u003c/p>\n\u003cp>A planned three-day installation had been completed in just one day, and the decals by Oakland artist \u003ca href=\"https://toshastimage.com/\">Tosha Stimage\u003c/a>, the culmination of four months of research, site visits, community feedback and design work, were complete.\u003c/p>\n\u003cp>Stimage’s artwork, \u003ci>\u003ca href=\"https://presidio.gov/about/community/art\">SUPERBLOOMS\u003c/a>\u003c/i>, joins two previous sidewalk installations by \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a> and \u003ca href=\"https://www.instagram.com/feliciagabaldonart/\">Felicia Gabaldon\u003c/a> as part of the Presidio’s \u003cem>Ancestral Futurism\u003c/em> Public Art Mentorship for emerging and mid-career BIPOC artists. Rodriguez drew from her own experience of working with the Presidio to assume a coaching role, guiding Gabaldon and Stimage through the creation of their temporary public art installations. \u003c/p>\n\u003cfigure id=\"attachment_13959944\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000.jpg\" alt=\"person in safety vests leans over as another person points to large decal on sidewalk\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-Stimage-by-Ariel-Robins-Parks-Conservancy3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage during the installation of ‘SUPERBLOOMS.’ \u003ccite>(Ariel Robins/Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Rodriguez and Gabaldon included native animals in their designs, Stimage, the founder of \u003ca href=\"https://www.saintflora.com/\">SAINTFLORA\u003c/a>, a floral design company that specializes in buoyant and dramatic arrangements, was the first artist to focus solely on the park’s botanic species. Rendered alone or set against circles of yellow, fuschia and gold, Stimage’s punchy designs depict the Chilean strawberry, California poppy and Checkerbloom.\u003c/p>\n\u003cp>Their vividness is by design.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rodriguez says park staff have worked hard to make the Presidio a destination not just for nearby neighborhoods (some of San Francisco’s wealthiest), but for the entire Bay Area. “They were like, that’s not the kind of park we want to have,” she says. “And so they began to engage in a process, including having relationships with community partners.”\u003c/p>\n\u003cp>Rodriguez joined the Presidio’s 13-member Activator Council in 2021, bringing with her a belief that art and culture can create welcoming spaces. “I was like, honestly, I never come to this park,” Rodriguez remembers saying. “This park is so white and there’s no color here. Seriously, just color will disrupt this sterile-ass park. And they were like, ‘OK, we’re down.’”\u003c/p>\n\u003cp>For Stimage, her time working on \u003ci>SUPERBLOOMS\u003c/i> has been one of deep immersion in the daily workings of the Presidio. “It was really cool to have access,” she says. “A big part of all of this is creating space, creating opportunities where people who don’t traditionally show up in these spaces get to know that [the park is] there.”\u003c/p>\n\u003cfigure id=\"attachment_13959943\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000.jpg\" alt=\"Two people pose smiling with Golden Gate Bride in background\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Tosha-and-Favianna-by-Felipe-Romero_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage and Favianna Rodriguez at the Presidio. \u003ccite>(Felipe Romero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking to Presidio ecologists in particular allowed Stimage to look at her own floral practice through a different lens. The species she highlighted in her designs are united by their extreme resilience. “The strawberry is one of my favorites because of that reason,” she says. “It’s a badass plant. It’s evolved over time in spite of the violence done in the spaces where it needs to be.”\u003c/p>\n\u003cp>Info panels provide details about each species in excited and easy to understand language. (Exclamation marks abound.) Stimage wants to make such knowledge accessible to all park visitors, including the very young. \u003c/p>\n\u003cp>“It may be a sticker on the top of the surface,” she says, “but maybe that person learned how to identify a plant, and then maybe it makes them curious enough to go and see where that thing lives and learn about its habitat and learn all the medicinal properties or how to engage with it properly.”\u003c/p>\n\u003cp>“All these things are little revolutions, too, that I think are super important,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_13959948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000.jpg\" alt=\"view of sidewalk with large orange decal and depictions of strawberry plant\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13959948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Ariel-Robins-Parks-Conservancy2_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another view of ‘SUPERBLOOMS’ with Chilean strawberries featured prominently. \u003ccite>(Ariel Robins/Parks Concervancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Rodriguez, Stimage’s approach embodied \u003ci>Ancestral Futurism\u003c/i> as a whole. (The project’s subtitle is “Looking Back to Repair the Future.”) Her many site visits, her flower deliveries, her desire to truly learn from the experts working behind the scenes at the park — Rodriguez says Stimage set a new bar for artists moving forward. \u003c/p>\n\u003cp>Coming from West Oakland to the Presidio, even to just sit on the grass and read a book, Stimage says, has been a nourishing experience.\u003c/p>\n\u003cp>“When we’re talking about equity and inclusion, it requires artists who can both make those connections, but also actually enjoy the beauty that is here,” says Rodriguez.\u003c/p>\n\u003cp>The Tunnel Tops are nearly two years old. Plantings have leafed out, the playground is broken in. It could be easy to see the Presidio’s newest recreation area as settled, fixed. But \u003ci>SUPERBLOOMS\u003c/i> pops out of that landscape in sunset-hued circles. It calls attention to itself and its subject matter in joyful celebration. \u003c/p>\n\u003cp>As I left the Presidio, wrestling my car door against a heavy gale, I looked down at the plants growing alongside the curb. Were these? Could it be? I bent down and lifted a few small leaves to reveal tiny red fruits. Wild strawberries.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘SUPERBLOOMS’ is now on view between the Presidio Transit Center and the Picnic Pavilion. A \u003ca href=\"https://presidio.gov/explore/events/superblooms-launch-party\">public launch event\u003c/a> takes place July 14, 12–3 p.m. at the Presidio Tunnel Tops with all-ages art activities, a floral installation, free plant starters, music and a show-and-tell by Presidio nursery staff.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Being a Mexican American is tough … we gotta prove to the Mexicans how Mexican we are, and we gotta prove to the Americans how American we are. We gotta be more Mexican than the Mexicans and more American than the Americans. It’s exhausting.”\u003c/p>\n\u003cp>So goes the ancient proverb shared in the Jennifer Lopez-starring, \u003ca href=\"https://remezcla.com/lists/film/selena-film-reviews-theatrical-release-1997/\">Chicanx cult classic film, \u003ci>Selena\u003c/i>\u003c/a>. In the scene, Selena (a young Lopez) listens as her dad (Edward James Olmos) explains how the border-schism proximity between the U.S. and Mexico make it nearly impossible for Mexican Americans — also known as Xicanx people — to feel fully grounded in either country. Exhausting, certainly. But also beautifully fractured.\u003c/p>\n\u003cp>From this glaring fault line, Xicanx people are born, and it’s where we breathe ourselves into our colorful, imaginative existences. Ever seen the murals in San Francisco’s Mission District, wandered past public art in East Los Angeles, or spent an afternoon in San Diego’s Chicano Park? Where else do you regularly experience that kind of public, communal catharsis through visual art?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rife with political and social resilience, gender fluid expressions and an ancestral sense of homeland, \u003c/span>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">\u003ci>\u003cspan style=\"font-weight: 400\">Calli: The Art of Xicanx Peoples\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> — an ambitious, 53-artist exhibit opening June 14 at the Oakland Museum of California — invites audiences to embrace and navigate these multi-dimensional complexities of Xicanx communities up close.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13959840\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg\" alt=\"an adobe-layered canvas with indigenous and contemporary designs painted on the surface\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles artist rafa esparza learned how to use adobe from his brick-making immigrant father. His artwork opens the show. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held in the museum’s spacious, multi-room Great Hall, \u003ci>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli\u003c/a>\u003c/i> — a Nahuatl word for home, family and lineage — opens with an adobe installation from Los Angeles artist \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> (most recently featured in SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">\u003ci>Sitting on Chrome\u003c/i>\u003c/a>). The piece serves as a portal for museum-goers, signaling a transformation of space, time and psychology as they enter the main showrooms. Titled \u003ci>Dispatches de Abajo\u003c/i>, it features hand-formed, Indigenous-styled adobe sculptures and an adobe floor.\u003c/p>\n\u003cp>And yet, references to the brutalism of our contemporary world are sprinkled on top of earth’s peaceful sediment: a series of adobe pit bulls wearing chain collars stare menacingly beneath images of Mesoamerican figures; an acrylic can of gun oil lube painted in the corner of an adobe block. esparaza’s immigrant father was a brick maker in Durango, Mexico who taught esparza and his siblings how to work with materials like adobe. It’s something that has gifted esparza a connection to the earth in an otherwise sharply concrete L.A. landscape.\u003c/p>\n\u003cp>Like esparza, many Xicanx artists have had to build their own mythologies, create their own paths and shape their own futures by calling up an ancestral past in a land that is neither here nor there. (Audio recordings of six year’s worth of California’s tectonic movements play softly from speakers as visitors walk through esparza’s womb-like installation.)\u003c/p>\n\u003cp>That search for an ethereal belonging is a central theme throughout \u003ci>Calli\u003c/i>. The exhibit is a healthy mix of contemporary works (kinetic papel picado, a mobile curandera station, a makeshift elote cart) and historical documents (archival posters, canonical prints, newspaper clippings, poems) that function as both an introduction to Xicanx history and an impressive Xicanx Hall of Fame for the already-initiated.\u003c/p>\n\u003cfigure id=\"attachment_13959830\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg\" alt=\"a yellow push cart labeled as Botanica del Barrio is displayed outdoors near a garden\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Montes’ ‘Botanica del barrio’ is one of the most multi-dimensional representations of Xicanx healing presented in the exhibit. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove of historical material is largely thanks to the late Chicana queer activist and professor Margaret “Margie” Terrazas Santos, whose efforts to collect posters from the Third World Liberation Front and Chicano Rights Movement culminated in an expansive and iconic resource for the OMCA, who acquired her visual library from living family members.\u003c/p>\n\u003cp>An intergenerational array of artists — including esparza, \u003ca href=\"https://www.instagram.com/cju.art.threads/?hl=en\">Consuelo Jimenez Underwood\u003c/a>, Carlos Francisco Jackson and a legion of others — were invited to create works in response to the posters, depicting Xicanx lore as not just something of the past, but of the current moment and beyond.\u003c/p>\n\u003cp>Jimenez Underwood confronts borders, military violence, displacement, migration and territorial conflict with a massive, site-specific contribution that spans the entirety of the exhibit’s largest wall with a multimedia mural. Jackson revisits the violence of the National Chicano Moratorium in 1970 with a silkscreen print.\u003c/p>\n\u003cp>Nearby, an original prose excerpt from Luis Valdez — a pivotal Xicanx playwright who founded Teatro Campesino in 1965 during the rise of United Farm Workers — is displayed within a case. His words outline the dualities of Xicanismo: “sentimental and cynical, fierce and docile, faithful and treacherous, individualistic and herd-following, in love with life and obsessed with death.” \u003ci>Calli\u003c/i> is all of this, at once, in a swirl of mediums, fabrics, textures and generational perspectives.\u003c/p>\n\u003cp>One of the expansive show’s highlights is its emphasis on queer and feminist Xicanx perspectives. Through photography, digital prints and various installations (video, audio and otherwise) viewers are presented with an alternative lens through which to understand the Xicanx pursuit of place and comfort within the largely patriarchal culture of Mexican machismo.\u003c/p>\n\u003cfigure id=\"attachment_13959838\" class=\"wp-caption alignnone\" style=\"max-width: 1945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg\" alt=\"a Chicano Rights Movement poster features the faces of two women joined by a flower in the middle\" width=\"1945\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1167x1536.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1556x2048.jpg 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1920x2527.jpg 1920w\" sizes=\"(max-width: 1945px) 100vw, 1945px\">\u003cfigcaption class=\"wp-caption-text\">A Chicano Rights Movement poster. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “autodenominación” (or act of self-naming) is an intuitive, if not necessary survivalism, that many Xicanx folks have had to perfect in dealing with not only racism, but homophobia. In a stunning subversion of machismo, a large Manuel Paul print shows two Xicanx men wrapped around one another behind a pickup truck, lips touching lips, with the well-known iconography of Mexican masculinity surrounding them (such as a bootleg \u003ci>Calvin and Hobbes\u003c/i> sticker in which Calvin is wearing a cowboy hat and taking a piss — a classic Mexican pick-up truck adornment).\u003c/p>\n\u003cp>Like the very Xicanx people the galleries are attempting to present, however, it is impossible to express each singular experience in all of its fullness. Rather than dig deep into one particular iteration of Xicanismo, \u003ci>Calli\u003c/i> opts to widen the spectrum, and thus, visitors are more likely to miss a particular angle or texture on display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But isn’t that how one always feels when walking away from the most captivating art spaces? With more questions and desires to know? \u003ci>Calli\u003c/i> is only a beginning point. At its best, it offers the biggest invitation into the chaotic, healing vortex of Xicanx consciousness that any local museum could hope for. Being Mexican American is tough; but it’s also endlessly freeing to examine.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>’ is on view June 14, 2024–Jan. 26, 2025 at the Oakland Museum of California.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Being a Mexican American is tough … we gotta prove to the Mexicans how Mexican we are, and we gotta prove to the Americans how American we are. We gotta be more Mexican than the Mexicans and more American than the Americans. It’s exhausting.”\u003c/p>\n\u003cp>So goes the ancient proverb shared in the Jennifer Lopez-starring, \u003ca href=\"https://remezcla.com/lists/film/selena-film-reviews-theatrical-release-1997/\">Chicanx cult classic film, \u003ci>Selena\u003c/i>\u003c/a>. In the scene, Selena (a young Lopez) listens as her dad (Edward James Olmos) explains how the border-schism proximity between the U.S. and Mexico make it nearly impossible for Mexican Americans — also known as Xicanx people — to feel fully grounded in either country. Exhausting, certainly. But also beautifully fractured.\u003c/p>\n\u003cp>From this glaring fault line, Xicanx people are born, and it’s where we breathe ourselves into our colorful, imaginative existences. Ever seen the murals in San Francisco’s Mission District, wandered past public art in East Los Angeles, or spent an afternoon in San Diego’s Chicano Park? Where else do you regularly experience that kind of public, communal catharsis through visual art?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rife with political and social resilience, gender fluid expressions and an ancestral sense of homeland, \u003c/span>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">\u003ci>\u003cspan style=\"font-weight: 400\">Calli: The Art of Xicanx Peoples\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> — an ambitious, 53-artist exhibit opening June 14 at the Oakland Museum of California — invites audiences to embrace and navigate these multi-dimensional complexities of Xicanx communities up close.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13959840\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg\" alt=\"an adobe-layered canvas with indigenous and contemporary designs painted on the surface\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3709-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles artist rafa esparza learned how to use adobe from his brick-making immigrant father. His artwork opens the show. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held in the museum’s spacious, multi-room Great Hall, \u003ci>\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli\u003c/a>\u003c/i> — a Nahuatl word for home, family and lineage — opens with an adobe installation from Los Angeles artist \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> (most recently featured in SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">\u003ci>Sitting on Chrome\u003c/i>\u003c/a>). The piece serves as a portal for museum-goers, signaling a transformation of space, time and psychology as they enter the main showrooms. Titled \u003ci>Dispatches de Abajo\u003c/i>, it features hand-formed, Indigenous-styled adobe sculptures and an adobe floor.\u003c/p>\n\u003cp>And yet, references to the brutalism of our contemporary world are sprinkled on top of earth’s peaceful sediment: a series of adobe pit bulls wearing chain collars stare menacingly beneath images of Mesoamerican figures; an acrylic can of gun oil lube painted in the corner of an adobe block. esparaza’s immigrant father was a brick maker in Durango, Mexico who taught esparza and his siblings how to work with materials like adobe. It’s something that has gifted esparza a connection to the earth in an otherwise sharply concrete L.A. landscape.\u003c/p>\n\u003cp>Like esparza, many Xicanx artists have had to build their own mythologies, create their own paths and shape their own futures by calling up an ancestral past in a land that is neither here nor there. (Audio recordings of six year’s worth of California’s tectonic movements play softly from speakers as visitors walk through esparza’s womb-like installation.)\u003c/p>\n\u003cp>That search for an ethereal belonging is a central theme throughout \u003ci>Calli\u003c/i>. The exhibit is a healthy mix of contemporary works (kinetic papel picado, a mobile curandera station, a makeshift elote cart) and historical documents (archival posters, canonical prints, newspaper clippings, poems) that function as both an introduction to Xicanx history and an impressive Xicanx Hall of Fame for the already-initiated.\u003c/p>\n\u003cfigure id=\"attachment_13959830\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg\" alt=\"a yellow push cart labeled as Botanica del Barrio is displayed outdoors near a garden\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/La-Botanica-del-Barrio_Felicia-Montes-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Montes’ ‘Botanica del barrio’ is one of the most multi-dimensional representations of Xicanx healing presented in the exhibit. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove of historical material is largely thanks to the late Chicana queer activist and professor Margaret “Margie” Terrazas Santos, whose efforts to collect posters from the Third World Liberation Front and Chicano Rights Movement culminated in an expansive and iconic resource for the OMCA, who acquired her visual library from living family members.\u003c/p>\n\u003cp>An intergenerational array of artists — including esparza, \u003ca href=\"https://www.instagram.com/cju.art.threads/?hl=en\">Consuelo Jimenez Underwood\u003c/a>, Carlos Francisco Jackson and a legion of others — were invited to create works in response to the posters, depicting Xicanx lore as not just something of the past, but of the current moment and beyond.\u003c/p>\n\u003cp>Jimenez Underwood confronts borders, military violence, displacement, migration and territorial conflict with a massive, site-specific contribution that spans the entirety of the exhibit’s largest wall with a multimedia mural. Jackson revisits the violence of the National Chicano Moratorium in 1970 with a silkscreen print.\u003c/p>\n\u003cp>Nearby, an original prose excerpt from Luis Valdez — a pivotal Xicanx playwright who founded Teatro Campesino in 1965 during the rise of United Farm Workers — is displayed within a case. His words outline the dualities of Xicanismo: “sentimental and cynical, fierce and docile, faithful and treacherous, individualistic and herd-following, in love with life and obsessed with death.” \u003ci>Calli\u003c/i> is all of this, at once, in a swirl of mediums, fabrics, textures and generational perspectives.\u003c/p>\n\u003cp>One of the expansive show’s highlights is its emphasis on queer and feminist Xicanx perspectives. Through photography, digital prints and various installations (video, audio and otherwise) viewers are presented with an alternative lens through which to understand the Xicanx pursuit of place and comfort within the largely patriarchal culture of Mexican machismo.\u003c/p>\n\u003cfigure id=\"attachment_13959838\" class=\"wp-caption alignnone\" style=\"max-width: 1945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg\" alt=\"a Chicano Rights Movement poster features the faces of two women joined by a flower in the middle\" width=\"1945\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-scaled.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1167x1536.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1556x2048.jpg 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Expresion-Chicana_Linda-Lucero-1920x2527.jpg 1920w\" sizes=\"(max-width: 1945px) 100vw, 1945px\">\u003cfigcaption class=\"wp-caption-text\">A Chicano Rights Movement poster. \u003ccite>(OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “autodenominación” (or act of self-naming) is an intuitive, if not necessary survivalism, that many Xicanx folks have had to perfect in dealing with not only racism, but homophobia. In a stunning subversion of machismo, a large Manuel Paul print shows two Xicanx men wrapped around one another behind a pickup truck, lips touching lips, with the well-known iconography of Mexican masculinity surrounding them (such as a bootleg \u003ci>Calvin and Hobbes\u003c/i> sticker in which Calvin is wearing a cowboy hat and taking a piss — a classic Mexican pick-up truck adornment).\u003c/p>\n\u003cp>Like the very Xicanx people the galleries are attempting to present, however, it is impossible to express each singular experience in all of its fullness. Rather than dig deep into one particular iteration of Xicanismo, \u003ci>Calli\u003c/i> opts to widen the spectrum, and thus, visitors are more likely to miss a particular angle or texture on display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But isn’t that how one always feels when walking away from the most captivating art spaces? With more questions and desires to know? \u003ci>Calli\u003c/i> is only a beginning point. At its best, it offers the biggest invitation into the chaotic, healing vortex of Xicanx consciousness that any local museum could hope for. Being Mexican American is tough; but it’s also endlessly freeing to examine.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://museumca.org/on-view/calli-the-art-of-xicanx-peoples/\">Calli: The Art of Xicanx Peoples\u003c/a>’ is on view June 14, 2024–Jan. 26, 2025 at the Oakland Museum of California.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-place-to-call-home-documentary-la-pena-cultural-center-murals",
"title": "A New Film Tells the Story of La Peña Cultural Center Through Murals",
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"content": "\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\n\u003cp>https://vimeo.com/957245456\u003c/p>\n\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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