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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist who brought a \u003ca href=\"https://www.kqed.org/arts/13856971/charlie-leese-sculpture-public-shore\" rel=\"noopener noreferrer\" target=\"_blank\">glimmering, growling sculpture\u003c/a> to a concrete platform behind the Dogpatch’s DHL shipping warehouse is back at it with a solo show of steel sculptures, giant vinyl prints and zines. \u003c/p>\n\u003cp>The ambiance is a bit different for \u003ca href=\"http://www.charlieleese.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Charlie Leese\u003c/a> this time around. Instead of a weedy plot equal parts fennel and roaming skunks, the setting for \u003ci>\u003ca href=\"https://www.bassandreiner.com/truncated-bovinity\" rel=\"noopener noreferrer\" target=\"_blank\">Truncated Bovinity\u003c/a>\u003c/i> is the white “cube” of San Francisco’s Bass & Reiner Gallery.\u003c/p>\n\u003cp>Sacrificing a novel setting, Leese gains space and time—space for more work, and an actual exhibition span in which gallerygoers can view that work. \u003ci>Truncated Bovinity\u003c/i> features a number of sculptures Leese calls “shells,” welded cylindrical shapes and vessels stripped of function. Their familiar shapes gesture at usefulness, but their purposes are left to the imagination. Leese is interested in the contrast between the promises of new technologies and “murky sludge” such industries actually produce.\u003c/p>\n\u003cp>There is no mistaking Leese’s sculptures, or the hands that make them: even in their slickest variations, sculptures in the \u003ci>Truncated Bovinity\u003c/i> series (cows cut short?) have character. And who needs a weedy plot when you have a room of elaborate, mysterious objects treading a thickly beaded line of weld between animate and inanimate? \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "You may have heard the word \"coronavirus\" online or on TV. You probably have a lot of questions. Check out our comic to get some answers — and print out a zine version at home.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’",
"headTitle": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’ | KQED",
"content": "\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uncanny-valley-de-young-review",
"title": "Artists Mine Data and the Mostly Chilling Implications of AI in 'Uncanny Valley'",
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"content": "\u003cp>The appearance of one’s doppelgänger usually presages disaster. Today, a shadow version of oneself exists constantly alongside our flesh-and-bone selves, for the most part concealed under the surface of our smartphones, in the ebb and flow of data behind our screens. These “statistical alter egos,” as de Young contemporary art curator Claudia Schmuckli calls them, are part of the modern condition—at least for anyone who engages with the networked world.\u003c/p>\n\u003cp>Instead of shying away from this uncomfortable truth, the artists of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Uncanny Valley\u003c/a>\u003c/i>, Schmuckli’s first group exhibition at the de Young, meet these doppelgängers head on, mining and manipulating that data to confront audiences with their digital lives, and the real-world implications of all that information.\u003c/p>\n\u003cp>\u003ci>Uncanny Valley\u003c/i> is billed as the “first major exhibition in the U.S. to explore the relationship between humans and intelligent machines through an artistic lens,” which sounds like it could be a show of unwieldy and intangible technology. It does, however, hew fairly close to the standard exhibition format, just with slightly more interactive features. Dealing in such nebulous, digital stuff, \u003ci>Uncanny Valley\u003c/i>’s strongest moments turn those themes into room-sized installations, as happens in Zach Blas’ \u003ci>The Doors\u003c/i>, Lynn Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> and Christopher Kulendran Thomas’ \u003ci>Being Human\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13875432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Blas_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zach Blas, ‘The Doors,’ 2019, installation view in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with Blas’ green-tinged “mystical corporate garden,” organized around the sacred geometry of \u003ca href=\"https://www.learnreligions.com/archangel-metatrons-cube-in-sacred-geometry-124293\" rel=\"noopener noreferrer\" target=\"_blank\">Metatron’s\u003c/a> cube in a nod to the Bay Area’s past and present relationship to psychedelia. At the room’s center, a glass case displays readily available nootropics (so-called smart drugs), popular with a Silicon Valley set interested in optimizing everything, including their own minds. On hanging screens, video projections trained on various neural networks (Fillmore-esque posters, Jim Morrison’s poetry, lizard skin) create a frenetic ambiance, the textbook cacophony of a bad trip. \u003c/p>\n\u003cp>While Blas’ LSD-inspired “garden” asks questions like “Who gets to have a vision of the future today?” other projects supply an onslaught of unsettling information we didn’t necessarily know to ask after. Soliciting visitors’ email addresses, Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> broadcasts what personal data can be gleaned from an internet search of that email, yielding current and former addresses, dates of birth, phone numbers and even, sometimes, credit scores. (Schmuckli assured me the museum isn’t keeping people’s email addresses on file, so at least there’s that.) \u003c/p>\n\u003cfigure id=\"attachment_13875434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Leeson_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13875434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, still from ‘Shadow Stalker,’ 2019. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson further implicates her audience (their physical and “digital” shadows become part of a projected map) by linking this invasive search to the reality of predictive policing, which uses data about past arrests to identify “high-risk areas” and determine heightened surveillance of those spaces. The feedback loop is dizzying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There \u003ci>are\u003c/i> examples in \u003ci>Uncanny Valley\u003c/i> of big data and AI being wielded for good (Forensic Architecture’s work to identify Triple-Chaser tear gas canisters in images from around the globe is one), but more often the show presents artworks that highlight the potential for abuse. See Trevor Paglen’s \u003ci>They Took the Faces from the Accused and the Dead … (SD18)\u003c/i>, 3,240 silver gelatin prints bearing the faces of accused and incarcerated individuals—images once used (without the subjects’ permission) to train facial-recognition software. (Now such software just trains itself on our social media pics, ¯\\_(ツ)_/¯.)\u003c/p>\n\u003cfigure id=\"attachment_13875435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Paglen_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trevor Paglen, ‘They Took the Faces from the Accused and the Dead… (SD18),’ 2019 in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the incorporation of technology into an artwork seems a bit arbitrary. In Simon Denny’s \u003ci>Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage\u003c/i>, visitors can use a QR code inside the powder-coated metal sculpture (an actual patent filed by Amazon, made by the artist into a real object) to activate on a supplied tablet the image of a small bird flitting about inside the cage. Conceptually, I get it: a species at risk, a harbinger of environmental collapse, a veritable “canary” in the coal mine. But in practical application, it’s one thing too many for the otherwise potent piece, and clunky to hold. \u003c/p>\n\u003cp>It’s far more chilling to imagine a human worker in this cage, steered by an automated system instead of their own will. Here too, we are implicated: As daily users of Amazon’s services, this design was created on our behalves, to better move Amazon employees through “active workspaces.” And while this specific cage was never pursued by the company, \u003ca href=\"https://patents.google.com/patent/US9280157B2/en\" rel=\"noopener noreferrer\" target=\"_blank\">the patent\u003c/a> doesn’t expire until 2033.\u003c/p>\n\u003cfigure id=\"attachment_13875431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg\" alt=\"\" width=\"1200\" height=\"722\" class=\"size-full wp-image-13875431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-1020x614.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Simon Denny, ‘Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage,’ 2019 beside work by Agnieszka Kurant in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the middle space between open questions and answers to questions we didn’t know we had, Kulendran Thomas’ \u003ci>Being Human\u003c/i>, made in collaboration with Annika Kuhlmann, ties together the philosophy of humanism, the history of civil conflict in Sri Lanka, the international art market, deepfakes and even an AI-generated pop song.\u003c/p>\n\u003cp>The 25-minute video plays in an elegantly arranged installation that blinks back and forth between projected image and a white-wall presentation of contemporary Sri Lankan art. Our guide within the video mulls over the concept of human rights, and its ties to Western imperialism—an especially pressing consideration for those who exist outside a recognized nation state. Then an uncanny deepfake of the Colombian artist Oscar Murillo says what might be exhibition’s greatest takeaway: “Invariably this space of theoretical equality is actually mediated by unequal powers.” (He’s talking about the art market, but the same applies to our Brave New Digital World.)\u003c/p>\n\u003cp>There is great power in the digital self: to communicate across borders, to make old gatekeepers irrelevant, to absorb and disseminate information that wants—demands—to be free. But that power is also being harnessed by those who would use it to sell us things, predict our behavior and arrest us for simply existing within a map’s red square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Uncanny Valley’ is on view at the de Young Museum in San Francisco through Oct. 25, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "Artists Mine Data and the Mostly Chilling Implications of AI in 'Uncanny Valley' | KQED",
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"venueName": "de Young Museum",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The appearance of one’s doppelgänger usually presages disaster. Today, a shadow version of oneself exists constantly alongside our flesh-and-bone selves, for the most part concealed under the surface of our smartphones, in the ebb and flow of data behind our screens. These “statistical alter egos,” as de Young contemporary art curator Claudia Schmuckli calls them, are part of the modern condition—at least for anyone who engages with the networked world.\u003c/p>\n\u003cp>Instead of shying away from this uncomfortable truth, the artists of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Uncanny Valley\u003c/a>\u003c/i>, Schmuckli’s first group exhibition at the de Young, meet these doppelgängers head on, mining and manipulating that data to confront audiences with their digital lives, and the real-world implications of all that information.\u003c/p>\n\u003cp>\u003ci>Uncanny Valley\u003c/i> is billed as the “first major exhibition in the U.S. to explore the relationship between humans and intelligent machines through an artistic lens,” which sounds like it could be a show of unwieldy and intangible technology. It does, however, hew fairly close to the standard exhibition format, just with slightly more interactive features. Dealing in such nebulous, digital stuff, \u003ci>Uncanny Valley\u003c/i>’s strongest moments turn those themes into room-sized installations, as happens in Zach Blas’ \u003ci>The Doors\u003c/i>, Lynn Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> and Christopher Kulendran Thomas’ \u003ci>Being Human\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13875432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Blas_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zach Blas, ‘The Doors,’ 2019, installation view in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with Blas’ green-tinged “mystical corporate garden,” organized around the sacred geometry of \u003ca href=\"https://www.learnreligions.com/archangel-metatrons-cube-in-sacred-geometry-124293\" rel=\"noopener noreferrer\" target=\"_blank\">Metatron’s\u003c/a> cube in a nod to the Bay Area’s past and present relationship to psychedelia. At the room’s center, a glass case displays readily available nootropics (so-called smart drugs), popular with a Silicon Valley set interested in optimizing everything, including their own minds. On hanging screens, video projections trained on various neural networks (Fillmore-esque posters, Jim Morrison’s poetry, lizard skin) create a frenetic ambiance, the textbook cacophony of a bad trip. \u003c/p>\n\u003cp>While Blas’ LSD-inspired “garden” asks questions like “Who gets to have a vision of the future today?” other projects supply an onslaught of unsettling information we didn’t necessarily know to ask after. Soliciting visitors’ email addresses, Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> broadcasts what personal data can be gleaned from an internet search of that email, yielding current and former addresses, dates of birth, phone numbers and even, sometimes, credit scores. (Schmuckli assured me the museum isn’t keeping people’s email addresses on file, so at least there’s that.) \u003c/p>\n\u003cfigure id=\"attachment_13875434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Leeson_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13875434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, still from ‘Shadow Stalker,’ 2019. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson further implicates her audience (their physical and “digital” shadows become part of a projected map) by linking this invasive search to the reality of predictive policing, which uses data about past arrests to identify “high-risk areas” and determine heightened surveillance of those spaces. The feedback loop is dizzying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There \u003ci>are\u003c/i> examples in \u003ci>Uncanny Valley\u003c/i> of big data and AI being wielded for good (Forensic Architecture’s work to identify Triple-Chaser tear gas canisters in images from around the globe is one), but more often the show presents artworks that highlight the potential for abuse. See Trevor Paglen’s \u003ci>They Took the Faces from the Accused and the Dead … (SD18)\u003c/i>, 3,240 silver gelatin prints bearing the faces of accused and incarcerated individuals—images once used (without the subjects’ permission) to train facial-recognition software. (Now such software just trains itself on our social media pics, ¯\\_(ツ)_/¯.)\u003c/p>\n\u003cfigure id=\"attachment_13875435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Paglen_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trevor Paglen, ‘They Took the Faces from the Accused and the Dead… (SD18),’ 2019 in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the incorporation of technology into an artwork seems a bit arbitrary. In Simon Denny’s \u003ci>Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage\u003c/i>, visitors can use a QR code inside the powder-coated metal sculpture (an actual patent filed by Amazon, made by the artist into a real object) to activate on a supplied tablet the image of a small bird flitting about inside the cage. Conceptually, I get it: a species at risk, a harbinger of environmental collapse, a veritable “canary” in the coal mine. But in practical application, it’s one thing too many for the otherwise potent piece, and clunky to hold. \u003c/p>\n\u003cp>It’s far more chilling to imagine a human worker in this cage, steered by an automated system instead of their own will. Here too, we are implicated: As daily users of Amazon’s services, this design was created on our behalves, to better move Amazon employees through “active workspaces.” And while this specific cage was never pursued by the company, \u003ca href=\"https://patents.google.com/patent/US9280157B2/en\" rel=\"noopener noreferrer\" target=\"_blank\">the patent\u003c/a> doesn’t expire until 2033.\u003c/p>\n\u003cfigure id=\"attachment_13875431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg\" alt=\"\" width=\"1200\" height=\"722\" class=\"size-full wp-image-13875431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-1020x614.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Simon Denny, ‘Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage,’ 2019 beside work by Agnieszka Kurant in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the middle space between open questions and answers to questions we didn’t know we had, Kulendran Thomas’ \u003ci>Being Human\u003c/i>, made in collaboration with Annika Kuhlmann, ties together the philosophy of humanism, the history of civil conflict in Sri Lanka, the international art market, deepfakes and even an AI-generated pop song.\u003c/p>\n\u003cp>The 25-minute video plays in an elegantly arranged installation that blinks back and forth between projected image and a white-wall presentation of contemporary Sri Lankan art. Our guide within the video mulls over the concept of human rights, and its ties to Western imperialism—an especially pressing consideration for those who exist outside a recognized nation state. Then an uncanny deepfake of the Colombian artist Oscar Murillo says what might be exhibition’s greatest takeaway: “Invariably this space of theoretical equality is actually mediated by unequal powers.” (He’s talking about the art market, but the same applies to our Brave New Digital World.)\u003c/p>\n\u003cp>There is great power in the digital self: to communicate across borders, to make old gatekeepers irrelevant, to absorb and disseminate information that wants—demands—to be free. But that power is also being harnessed by those who would use it to sell us things, predict our behavior and arrest us for simply existing within a map’s red square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Uncanny Valley’ is on view at the de Young Museum in San Francisco through Oct. 25, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space",
"headTitle": "At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13874591,arts_13859794,arts_13873186' label='Related Coverage']The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Love Letter to Nancy White's Abstract Paintings",
"headTitle": "A Love Letter to Nancy White’s Abstract Paintings | KQED",
"content": "\u003cp>Nancy White’s paintings reach, for me, the platonic ideal of abstraction. Walking through Romer Young’s \u003ci>New Work\u003c/i>, her second solo exhibition with the gallery (not one to fix something that isn’t broken, her first solo in 2018 was \u003ci>also\u003c/i> titled \u003ci>New Work\u003c/i>), I found myself sighing a lot. Not out of boredom or exhaustion, but in an unconscious and pure emotional reaction to a room of 10 uniformly arranged 16-by-13-inch untitled paintings. \u003c/p>\n\u003cp>What is it about these paintings? Why do they elicit from me, the stoic arts writer, the sounds of a heartsick teenager? Let me count the ways.\u003c/p>\n\u003cp>First, there’s satisfaction to be found in their precision. White paints with acrylic on linen, but her surfaces betray no brushstrokes. She paints hard-edged zones of color hemmed in by straight lines, sharp angles and sensuous curves, but they retain a trace of her hand. There is nothing machine-like in her shapes; the nubble of the linen gives texture to the matte paint. \u003c/p>\n\u003cfigure id=\"attachment_13874835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 1–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If they suddenly morphed into extremely well put together people, you’d have a hard time deciding whether you wanted to be \u003ci>with\u003c/i> them or simply be them.\u003c/p>\n\u003cp>Second, they are withholding. It’s hard to keep from crushing on someone who doesn’t reveal their whole self. Each painting practices a kind of formal restraint, limiting itself to a family of hues. The colors in her paintings, while rich, don’t overwhelm the subtlety of each composition. These are off-colors, further muted by sitting alongside other shapes just a shade or two different from themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When slices of color are more saturated, more easily named, like the dusty orange blob and spike that dips in from the top left corner of one canvas, it feels like a gift. A pool of crimson acts like a slight, unexpected smile that makes you blush uncontrollably. Such moments pierce rational thought. They turn my brain into goo.\u003c/p>\n\u003cfigure id=\"attachment_13874836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 3–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there’s the cohesion of the exhibition as a whole. Through a repetition of certain elements (canvas size, paint type, surface texture, artwork names), the slight shifts of color and form within each of White’s paintings become all the more dramatic. In aggregate, the paintings create a gradient of sorts across the gallery walls. Navy to green to red to lilac to cobalt; the paintings function like the shifts of a mood ring, changing color without telling you why. \u003c/p>\n\u003cp>White harnesses essential forms, rendering archways, caves, surfaces and shadows as discrete planes of flat color. At least, those are the “things” I read into her paintings, which push the viewer to imagine alien landscapes in the vein of Monet’s haystacks. What does the surface of Mars look like at different times of its slightly-longer-than-ours day? \u003c/p>\n\u003cp>If White’s paintings are windows into another world, it’s one in which foreground and background are confused. Darker colors imply distance, but sometimes White’s darker shapes sit before lighter ones, confusing any attempt to define a given painting’s space. On each 208-square-inch surface, she uses only about a dozen different colors, yet there’s so much to see and analyze in each meeting between slightly differentiated zones of color. Sometimes the paintings feel like studies in simultaneous contrast. How are we to know which colors are truly different, or just appear so because of their surroundings? I felt manipulated and I loved it.\u003c/p>\n\u003cfigure id=\"attachment_13874837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 2–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point, \u003ci>New Work\u003c/i> had me dry-mouthed, struggling to remember the names of colors I became increasingly certain White uses habitually and casually. Was that slouching, indented curve actually ultramarine blue? Could I use the word cerulean with confidence? \u003c/p>\n\u003cp>But then I relaxed, stepped back to survey the gradations between evenly spaced canvases in Romer Young’s white box. I resigned myself to the fact that I would never inhabit the space behind White’s linen surface. I sighed. Distance makes the heart grow fonder.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nancy White’s ‘New Work’ is on view at Romer Young Gallery through Feb. 15, 2020. \u003ca href=\"https://www.romeryounggallery.com/current\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The San Francisco artist's solo show at Romer Young achieves an emotional state through slight variations in color, shape and composition. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nancy White’s paintings reach, for me, the platonic ideal of abstraction. Walking through Romer Young’s \u003ci>New Work\u003c/i>, her second solo exhibition with the gallery (not one to fix something that isn’t broken, her first solo in 2018 was \u003ci>also\u003c/i> titled \u003ci>New Work\u003c/i>), I found myself sighing a lot. Not out of boredom or exhaustion, but in an unconscious and pure emotional reaction to a room of 10 uniformly arranged 16-by-13-inch untitled paintings. \u003c/p>\n\u003cp>What is it about these paintings? Why do they elicit from me, the stoic arts writer, the sounds of a heartsick teenager? Let me count the ways.\u003c/p>\n\u003cp>First, there’s satisfaction to be found in their precision. White paints with acrylic on linen, but her surfaces betray no brushstrokes. She paints hard-edged zones of color hemmed in by straight lines, sharp angles and sensuous curves, but they retain a trace of her hand. There is nothing machine-like in her shapes; the nubble of the linen gives texture to the matte paint. \u003c/p>\n\u003cfigure id=\"attachment_13874835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_01_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 1–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If they suddenly morphed into extremely well put together people, you’d have a hard time deciding whether you wanted to be \u003ci>with\u003c/i> them or simply be them.\u003c/p>\n\u003cp>Second, they are withholding. It’s hard to keep from crushing on someone who doesn’t reveal their whole self. Each painting practices a kind of formal restraint, limiting itself to a family of hues. The colors in her paintings, while rich, don’t overwhelm the subtlety of each composition. These are off-colors, further muted by sitting alongside other shapes just a shade or two different from themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When slices of color are more saturated, more easily named, like the dusty orange blob and spike that dips in from the top left corner of one canvas, it feels like a gift. A pool of crimson acts like a slight, unexpected smile that makes you blush uncontrollably. Such moments pierce rational thought. They turn my brain into goo.\u003c/p>\n\u003cfigure id=\"attachment_13874836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_03_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 3–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there’s the cohesion of the exhibition as a whole. Through a repetition of certain elements (canvas size, paint type, surface texture, artwork names), the slight shifts of color and form within each of White’s paintings become all the more dramatic. In aggregate, the paintings create a gradient of sorts across the gallery walls. Navy to green to red to lilac to cobalt; the paintings function like the shifts of a mood ring, changing color without telling you why. \u003c/p>\n\u003cp>White harnesses essential forms, rendering archways, caves, surfaces and shadows as discrete planes of flat color. At least, those are the “things” I read into her paintings, which push the viewer to imagine alien landscapes in the vein of Monet’s haystacks. What does the surface of Mars look like at different times of its slightly-longer-than-ours day? \u003c/p>\n\u003cp>If White’s paintings are windows into another world, it’s one in which foreground and background are confused. Darker colors imply distance, but sometimes White’s darker shapes sit before lighter ones, confusing any attempt to define a given painting’s space. On each 208-square-inch surface, she uses only about a dozen different colors, yet there’s so much to see and analyze in each meeting between slightly differentiated zones of color. Sometimes the paintings feel like studies in simultaneous contrast. How are we to know which colors are truly different, or just appear so because of their surroundings? I felt manipulated and I loved it.\u003c/p>\n\u003cfigure id=\"attachment_13874837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"1461\" class=\"size-full wp-image-13874837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-800x974.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-768x935.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/NWHITE_UNTITLED_02_2019_1200-1020x1242.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nancy White, ‘Untitled,’ 2–2019. \u003ccite>(Courtesy the artist and Romer Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point, \u003ci>New Work\u003c/i> had me dry-mouthed, struggling to remember the names of colors I became increasingly certain White uses habitually and casually. Was that slouching, indented curve actually ultramarine blue? Could I use the word cerulean with confidence? \u003c/p>\n\u003cp>But then I relaxed, stepped back to survey the gradations between evenly spaced canvases in Romer Young’s white box. I resigned myself to the fact that I would never inhabit the space behind White’s linen surface. I sighed. Distance makes the heart grow fonder.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nancy White’s ‘New Work’ is on view at Romer Young Gallery through Feb. 15, 2020. \u003ca href=\"https://www.romeryounggallery.com/current\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the world of George Orwell’s \u003cem>1984\u003c/em>, citizens are monitored around the clock, eavesdropped upon by machines, and subjected to confusing political spin.\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>Destroy Art Inc., the curators of \u003ca href=\"https://19842020.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Welcome to 1984//2020: Punk on the Western Front\u003c/a>, noticed parallels between the 1949 novel and contemporary reality, too. And they’ve put together a huge exhibit of punk-related art to reflect that.\u003c/p>\n\u003cp>Featuring work by a multi-generational mix of punk rock creatives, \u003cem>1984//2020\u003c/em> promises to be a thought-provoking exploration of the zeitgeist, filtered through a lens that’s both historical and musical.\u003c/p>\n\u003cp>Art by established punk icons like photographer Edward Colver, Dead Kennedys legend Jello Biafra, and (appropriately named) collage specialist Winston Smith will be featured alongside a new generation of artists, including Karoline Collins, Shannon Deathless and Jason Ruggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winston Smith’s recent exhibit at the Haight Street Art Center hinted at a 1984-2020 theme that promises to be expanded further here. In addition, the work of recently deceased Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68\" target=\"_blank\" rel=\"noopener noreferrer\">Murray Bowles\u003c/a> will also be on view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As well as Feb. 29’s opening night party (7pm-midnight), an accompanying discussion follows the next day at 2pm by key artists from the exhibition, as well as a women-focused event at the gallery on Mar. 21. The WXMXN, Punk & Community discussion panel includes the likes of Alice Bag, Michelle Cruz and Kamala Parks, and will precede a screening of Amanda Silberling’s documentary \u003cem>Women in Punk\u003c/em>. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the world of George Orwell’s \u003cem>1984\u003c/em>, citizens are monitored around the clock, eavesdropped upon by machines, and subjected to confusing political spin.\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>Destroy Art Inc., the curators of \u003ca href=\"https://19842020.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Welcome to 1984//2020: Punk on the Western Front\u003c/a>, noticed parallels between the 1949 novel and contemporary reality, too. And they’ve put together a huge exhibit of punk-related art to reflect that.\u003c/p>\n\u003cp>Featuring work by a multi-generational mix of punk rock creatives, \u003cem>1984//2020\u003c/em> promises to be a thought-provoking exploration of the zeitgeist, filtered through a lens that’s both historical and musical.\u003c/p>\n\u003cp>Art by established punk icons like photographer Edward Colver, Dead Kennedys legend Jello Biafra, and (appropriately named) collage specialist Winston Smith will be featured alongside a new generation of artists, including Karoline Collins, Shannon Deathless and Jason Ruggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winston Smith’s recent exhibit at the Haight Street Art Center hinted at a 1984-2020 theme that promises to be expanded further here. In addition, the work of recently deceased Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68\" target=\"_blank\" rel=\"noopener noreferrer\">Murray Bowles\u003c/a> will also be on view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As well as Feb. 29’s opening night party (7pm-midnight), an accompanying discussion follows the next day at 2pm by key artists from the exhibition, as well as a women-focused event at the gallery on Mar. 21. The WXMXN, Punk & Community discussion panel includes the likes of Alice Bag, Michelle Cruz and Kamala Parks, and will precede a screening of Amanda Silberling’s documentary \u003cem>Women in Punk\u003c/em>. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Recoding CripTech Proudly Asserts Disability as an Identity and Culture",
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"content": "\u003cp>\u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Recoding CripTech\u003c/em>\u003c/a>, a stand-out group exhibition on view at SOMArts through Feb. 25, reimagines what a body can be and do. Working with 11 artists and art collaboratives, curators Vanessa Chang and Lindsey D. Felt explore technology as a resource to be harnessed and hacked in service of ethical and wider social visibility for disability culture.\u003c/p>\n\u003cp>Among the themes that drive the exhibition, one is preeminent: disability is \u003ci>not\u003c/i> a pathological state in need of correction. Realized with old and new technologies alike, the objects and discrete installations comprising \u003ci>Recoding CripTech\u003c/i> do not demonstrate a desire to correct the range of challenges each maker lives with. Quite the opposite, in fact. These projects proudly assert disability as a cultural and political identity that demands recognition from non-disabled populations.\u003c/p>\n\u003cp>Language and its role in disability culture is addressed at the outset. “Crip” comes from the slur “cripple.” Like its cruel counterparts—“lame,” “deformed,” “crazy,” and the euphemistically condescending “differently-abled”—“cripple” denotes a cultural and linguistic power dynamic that marks difference as inferior or “other.” Much like “queer” was reappropriated by many in the LGBTQIA+ community, “crip” is used by many within disabled communities to indicate solidarity. From that contextual vantage point, the exhibition registers as a familial, collaborative effort.\u003c/p>\n\u003cfigure id=\"attachment_13874630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg\" alt=\"M Eifler AKA BlinkPopShift & Steve Sedlmayr\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">M Eifler (a.k.a. BlinkPopShift) and Steve Sedlmayr, ‘Prosthetic Memory,’ 2020. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"https://www.toddedwardherman.com/when-i-stop-looking\" target=\"_blank\" rel=\"noopener noreferrer\">Todd Edward Herman\u003c/a> challenges us to think about looking. A meditative 15-minute video, Herman’s \u003cem>When I Stop Looking\u003c/em> (2013) exposes a discomfiting reality: the desire to indulge spectatorial impulses by staring at his subjects, all of whom live with significant facial and cranial conditions. Herman’s reverent, moving work challenges us to consider how the gaze is activated in visually-oriented environments such as museums. What do we derive from looking? What do we extract from those we look at?\u003c/p>\n\u003cp>\u003ci>Recoding CripTech\u003c/i> is replete with cutting-edge adaptive technology, including \u003ci>Prosthetic Memory\u003c/i>, one of two featured projects by M Eifler a.k.a. \u003ca href=\"http://www.blinkpopshift.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BlinkPopShift\u003c/a> and their collaborator Steve Sedlmayr. Set up to resemble the artist’s workspace, the installation includes custom-designed artificial intelligence (AI) that serves as a backup memory. Pages drawn from the artist’s daily written and video journaling practice, organized in a desktop binder, are read by custom software.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the visitor choses a page, the AI reads the content and projects an associated memory on the desk. Eifler created this project to accommodate long-term memory gaps caused by a childhood traumatic brain injury. But rather than emulate a \u003ca href=\"https://www.healthline.com/health/neurotypical\" target=\"_blank\" rel=\"noopener noreferrer\">neurotypical\u003c/a> person’s cognitive processes, the artist strives to capture their unique mental capacities. The installation conveys machine learning’s potential to help people with disabilities live by self-defined terms.\u003c/p>\n\u003cfigure id=\"attachment_13874631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg\" alt=\"Chun-Shan (Sandie) Yi\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chun-Shan (Sandie) Yi, installation view of ‘Re-Fuse Skin Set,’ ‘Skinny,’ and ‘Dermis Footwear.’ \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though cutting-edge technology is evident throughout this exhibition, work by Chun-Shan (Sandie) Yi and Jillian Crochet hold space for manual practices such as sewing and knitting. Yi, a PhD candidate in disability studies at the University of Illinois-Chicago and founder of \u003ca href=\"https://www.cripcouture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Crip Couture\u003c/a>, makes clothes that draw on the lived experiences of disabled bodies, including memory and medical and surgical interventions.\u003c/p>\n\u003cp>Where conventional prosthetics and orthotics “normalize” bodily movement, Yi’s wares center on and accentuate what is distinctive about the individual and their physical profile and needs. \u003ci>Dermis Footwear\u003c/i> (2011), one of the five projects Yi contributed to the exhibition, includes cutouts in the latex boot specifically designed to accommodate scars on the wearer’s feet. Yi’s wearable art speaks to intimacy, accessibility, and the want to feel attractive or desirable on our own terms. Moreover, Yi’s fashion-focused practice sets up a dynamic contrast to haute couture, the terms of its production, its financial and social exclusivity, and how the bodies that wear such designs are perceived as “normal” or “abnormal.”\u003c/p>\n\u003cfigure id=\"attachment_13874794\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jillian Crochet, ‘My Beating Heart,’ 2014. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greeting visitors as they enter, \u003ci>My Beating Heart\u003c/i> (2014), \u003ca href=\"https://jilliancrochet.com/installation-works/my-beating-heart/\" target=\"_blank\" rel=\"noopener noreferrer\">Jillian Crochet\u003c/a>’s vivid red yarn and metal construction, easily holds space in SOMArts’ cavernous main gallery. Visitors are encouraged to step inside the delicate-yet-durable hanging sculpture. Within, they consider the human heart, necessary for life, and its universality.\u003c/p>\n\u003cp>Crochet’s work activates an array of notions, including domesticity, inherited knowledge, craft as women’s creative outlet and the heart as the metaphorical center of family and community. Looking out at \u003ci>Recoding CripTech\u003c/i> from inside the crocheted lattice, we see vibrant creative projects. Each one celebrates disability as existence that needs no correction or explanation. It simply needs to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Recoding CripTech’ is on view at SOMArts through Feb. 25. \u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A group show at SOMArts explores how old and new technologies can be harnessed in service of wider social visibility.",
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"title": "Recoding CripTech Proudly Asserts Disability as an Identity and Culture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Recoding CripTech\u003c/em>\u003c/a>, a stand-out group exhibition on view at SOMArts through Feb. 25, reimagines what a body can be and do. Working with 11 artists and art collaboratives, curators Vanessa Chang and Lindsey D. Felt explore technology as a resource to be harnessed and hacked in service of ethical and wider social visibility for disability culture.\u003c/p>\n\u003cp>Among the themes that drive the exhibition, one is preeminent: disability is \u003ci>not\u003c/i> a pathological state in need of correction. Realized with old and new technologies alike, the objects and discrete installations comprising \u003ci>Recoding CripTech\u003c/i> do not demonstrate a desire to correct the range of challenges each maker lives with. Quite the opposite, in fact. These projects proudly assert disability as a cultural and political identity that demands recognition from non-disabled populations.\u003c/p>\n\u003cp>Language and its role in disability culture is addressed at the outset. “Crip” comes from the slur “cripple.” Like its cruel counterparts—“lame,” “deformed,” “crazy,” and the euphemistically condescending “differently-abled”—“cripple” denotes a cultural and linguistic power dynamic that marks difference as inferior or “other.” Much like “queer” was reappropriated by many in the LGBTQIA+ community, “crip” is used by many within disabled communities to indicate solidarity. From that contextual vantage point, the exhibition registers as a familial, collaborative effort.\u003c/p>\n\u003cfigure id=\"attachment_13874630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg\" alt=\"M Eifler AKA BlinkPopShift & Steve Sedlmayr\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">M Eifler (a.k.a. BlinkPopShift) and Steve Sedlmayr, ‘Prosthetic Memory,’ 2020. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"https://www.toddedwardherman.com/when-i-stop-looking\" target=\"_blank\" rel=\"noopener noreferrer\">Todd Edward Herman\u003c/a> challenges us to think about looking. A meditative 15-minute video, Herman’s \u003cem>When I Stop Looking\u003c/em> (2013) exposes a discomfiting reality: the desire to indulge spectatorial impulses by staring at his subjects, all of whom live with significant facial and cranial conditions. Herman’s reverent, moving work challenges us to consider how the gaze is activated in visually-oriented environments such as museums. What do we derive from looking? What do we extract from those we look at?\u003c/p>\n\u003cp>\u003ci>Recoding CripTech\u003c/i> is replete with cutting-edge adaptive technology, including \u003ci>Prosthetic Memory\u003c/i>, one of two featured projects by M Eifler a.k.a. \u003ca href=\"http://www.blinkpopshift.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BlinkPopShift\u003c/a> and their collaborator Steve Sedlmayr. Set up to resemble the artist’s workspace, the installation includes custom-designed artificial intelligence (AI) that serves as a backup memory. Pages drawn from the artist’s daily written and video journaling practice, organized in a desktop binder, are read by custom software.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the visitor choses a page, the AI reads the content and projects an associated memory on the desk. Eifler created this project to accommodate long-term memory gaps caused by a childhood traumatic brain injury. But rather than emulate a \u003ca href=\"https://www.healthline.com/health/neurotypical\" target=\"_blank\" rel=\"noopener noreferrer\">neurotypical\u003c/a> person’s cognitive processes, the artist strives to capture their unique mental capacities. The installation conveys machine learning’s potential to help people with disabilities live by self-defined terms.\u003c/p>\n\u003cfigure id=\"attachment_13874631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg\" alt=\"Chun-Shan (Sandie) Yi\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chun-Shan (Sandie) Yi, installation view of ‘Re-Fuse Skin Set,’ ‘Skinny,’ and ‘Dermis Footwear.’ \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though cutting-edge technology is evident throughout this exhibition, work by Chun-Shan (Sandie) Yi and Jillian Crochet hold space for manual practices such as sewing and knitting. Yi, a PhD candidate in disability studies at the University of Illinois-Chicago and founder of \u003ca href=\"https://www.cripcouture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Crip Couture\u003c/a>, makes clothes that draw on the lived experiences of disabled bodies, including memory and medical and surgical interventions.\u003c/p>\n\u003cp>Where conventional prosthetics and orthotics “normalize” bodily movement, Yi’s wares center on and accentuate what is distinctive about the individual and their physical profile and needs. \u003ci>Dermis Footwear\u003c/i> (2011), one of the five projects Yi contributed to the exhibition, includes cutouts in the latex boot specifically designed to accommodate scars on the wearer’s feet. Yi’s wearable art speaks to intimacy, accessibility, and the want to feel attractive or desirable on our own terms. Moreover, Yi’s fashion-focused practice sets up a dynamic contrast to haute couture, the terms of its production, its financial and social exclusivity, and how the bodies that wear such designs are perceived as “normal” or “abnormal.”\u003c/p>\n\u003cfigure id=\"attachment_13874794\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jillian Crochet, ‘My Beating Heart,’ 2014. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greeting visitors as they enter, \u003ci>My Beating Heart\u003c/i> (2014), \u003ca href=\"https://jilliancrochet.com/installation-works/my-beating-heart/\" target=\"_blank\" rel=\"noopener noreferrer\">Jillian Crochet\u003c/a>’s vivid red yarn and metal construction, easily holds space in SOMArts’ cavernous main gallery. Visitors are encouraged to step inside the delicate-yet-durable hanging sculpture. Within, they consider the human heart, necessary for life, and its universality.\u003c/p>\n\u003cp>Crochet’s work activates an array of notions, including domesticity, inherited knowledge, craft as women’s creative outlet and the heart as the metaphorical center of family and community. Looking out at \u003ci>Recoding CripTech\u003c/i> from inside the crocheted lattice, we see vibrant creative projects. Each one celebrates disability as existence that needs no correction or explanation. It simply needs to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Recoding CripTech’ is on view at SOMArts through Feb. 25. \u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David King Revisits Formative Childhood Imagery in Posthumous Book, Exhibition",
"headTitle": "David King Revisits Formative Childhood Imagery in Posthumous Book, Exhibition | KQED",
"content": "\u003cp>\u003cem>Happy\u003c/em>, a new photography book by David King, the English-born San Francisco artist who died at 71 last October, comprises full-page images made from small objects and a yellow surface. King took thousands of these photographs, some of which appear in a same-named exhibition at \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Park Life Gallery\u003c/a>, as natural light fluctuations in his home studio drew longer and shorter lines in shadow. The objects, Luca Antonucci of \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> notes in a brief dedication at the end of the book, are culled from what King called his Museum of Small Things. They reference retrofuturism, genteel domesticity and pop culture depictions of masculinity from the mid-20th century. As King fought against cancer, he meditated on the bright, bubblegum imagery that imprinted riotous color on the gray postwar cityscape of his United Kingdom upbringing. [aside postID=arts_13868611]\u003c/p>\n\u003cp>King earlier published a book, \u003cem>Walking Photos\u003c/em>, showing his eye for shapes and textures hidden in the built environment of San Francisco, and \u003cem>Happy\u003c/em> similarly surfaces enchanting formal aspects of everyday objects. A tiny blue pushcart with elongated shadows, for instance, registers as a working-class symbol as well as an abstraction of cascading rectangles. Other objects appear in pairs, drawing attention to qualities less conspicuous singly. The focal point of identical businessmen figurines becomes the divergent paint cracks, and two burly, mustachioed men in bowler hats look less tough, more cabaret as they lunge side-by-side. Even before the vintage comic book covers, which echo the dramatic angles and negative space of his own work, King’s interest in the latent camp of masculine caricature is evident.\u003c/p>\n\u003cfigure id=\"attachment_13874778\" class=\"wp-caption alignleft\" style=\"max-width: 452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/happy1.jpg\" alt=\"The cover of David King's posthumous artist book, 'Happy.'\" width=\"452\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1.jpg 452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1-160x215.jpg 160w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003cfigcaption class=\"wp-caption-text\">The cover of David King’s posthumous artist book, ‘Happy.’ \u003ccite>(David King/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King moved from New York to San Francisco in 1982 with his band mates in Arsenal, including his wife Dione, and reformed the punk group as Sleeping Dogs. In the 1990s, he continued his art education at the San Francisco Art Institute. He found work as a commercial graphic designer and broadened his mediums to include photography, film, stencil and woodworking, reaching across generations and scenes to find admiring peers in the burgeoning Mission School. In recent years King also sought to reconcile the severity of his best-known image, an anti-establishment logo for influential anarcho-punk group Crass, with the levity and humor of his personal aesthetic. \u003cem>David King Stencils\u003c/em>, a monograph recently published by Gingko Press, includes introductions by artists and historians Steven Heller, Matt Borruso and Barry McGee.\u003c/p>\n\u003cp>\u003cem>Happy\u003c/em> continues a string of scrapbook-like Colpa Press publications King created from his personal archives of original and found imagery in the past several years. King chose the title before he died, and close associates made many of the selection and sequencing decisions in the book and Park Life Gallery exhibition. Organizers of the show, which includes a handful of photos that don’t appear in the book, describe the pictures as documentation of his practice as a collector: King’s bevy of objects was the artwork itself, gaining meaning in the aggregate. Still, they’re individually stirring, bringing viewers into his state of mind as a child, enchanted by the fizzy chintz of candy advertisements on enamel signs. In one exhibition photo, not included in the book, a dyed paper flower leans at an angle suggestive of sighing into delightful freefall.\u003c/p>\n\u003cp>\u003cem>David King’s ‘Happy’ is on view at Park Life Gallery through March 1, 2020. \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Happy\u003c/em>, a new photography book by David King, the English-born San Francisco artist who died at 71 last October, comprises full-page images made from small objects and a yellow surface. King took thousands of these photographs, some of which appear in a same-named exhibition at \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Park Life Gallery\u003c/a>, as natural light fluctuations in his home studio drew longer and shorter lines in shadow. The objects, Luca Antonucci of \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> notes in a brief dedication at the end of the book, are culled from what King called his Museum of Small Things. They reference retrofuturism, genteel domesticity and pop culture depictions of masculinity from the mid-20th century. As King fought against cancer, he meditated on the bright, bubblegum imagery that imprinted riotous color on the gray postwar cityscape of his United Kingdom upbringing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King earlier published a book, \u003cem>Walking Photos\u003c/em>, showing his eye for shapes and textures hidden in the built environment of San Francisco, and \u003cem>Happy\u003c/em> similarly surfaces enchanting formal aspects of everyday objects. A tiny blue pushcart with elongated shadows, for instance, registers as a working-class symbol as well as an abstraction of cascading rectangles. Other objects appear in pairs, drawing attention to qualities less conspicuous singly. The focal point of identical businessmen figurines becomes the divergent paint cracks, and two burly, mustachioed men in bowler hats look less tough, more cabaret as they lunge side-by-side. Even before the vintage comic book covers, which echo the dramatic angles and negative space of his own work, King’s interest in the latent camp of masculine caricature is evident.\u003c/p>\n\u003cfigure id=\"attachment_13874778\" class=\"wp-caption alignleft\" style=\"max-width: 452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/happy1.jpg\" alt=\"The cover of David King's posthumous artist book, 'Happy.'\" width=\"452\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1.jpg 452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1-160x215.jpg 160w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003cfigcaption class=\"wp-caption-text\">The cover of David King’s posthumous artist book, ‘Happy.’ \u003ccite>(David King/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King moved from New York to San Francisco in 1982 with his band mates in Arsenal, including his wife Dione, and reformed the punk group as Sleeping Dogs. In the 1990s, he continued his art education at the San Francisco Art Institute. He found work as a commercial graphic designer and broadened his mediums to include photography, film, stencil and woodworking, reaching across generations and scenes to find admiring peers in the burgeoning Mission School. In recent years King also sought to reconcile the severity of his best-known image, an anti-establishment logo for influential anarcho-punk group Crass, with the levity and humor of his personal aesthetic. \u003cem>David King Stencils\u003c/em>, a monograph recently published by Gingko Press, includes introductions by artists and historians Steven Heller, Matt Borruso and Barry McGee.\u003c/p>\n\u003cp>\u003cem>Happy\u003c/em> continues a string of scrapbook-like Colpa Press publications King created from his personal archives of original and found imagery in the past several years. King chose the title before he died, and close associates made many of the selection and sequencing decisions in the book and Park Life Gallery exhibition. Organizers of the show, which includes a handful of photos that don’t appear in the book, describe the pictures as documentation of his practice as a collector: King’s bevy of objects was the artwork itself, gaining meaning in the aggregate. Still, they’re individually stirring, bringing viewers into his state of mind as a child, enchanted by the fizzy chintz of candy advertisements on enamel signs. In one exhibition photo, not included in the book, a dyed paper flower leans at an angle suggestive of sighing into delightful freefall.\u003c/p>\n\u003cp>\u003cem>David King’s ‘Happy’ is on view at Park Life Gallery through March 1, 2020. \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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