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"title": "Richmond Censors Critiques of Trump in Public Art Project",
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"content": "\u003cp>For just five nights, the north wall of Richmond’s Memorial Auditorium belongs not to the city, but to the people of Richmond. Between the hours of 8 and 11pm, Aug. 21–25, \u003ca href=\"https://www.christychan.com/\" target=\"_blank\" rel=\"noopener\">Christy Chan\u003c/a>’s public art piece \u003ci>\u003ca href=\"https://www.insideoutrichmond.org/\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>\u003c/i> projects a looping video of large text onto the auditorium’s brick tower, all phrases collected from Richmond residents. The 75-minute video includes personal aspirations, dreams for Richmond, worries about the fate of the planet, messages of forgiveness and notes of encouragement.\u003c/p>\n\u003cp>But markedly absent from the projection are any submissions critical of President Trump or his government’s policies. Instead, a message appears in blue: “The city of Richmond has banned us from projecting phrases you submitted that criticize the President of the United States by name. Of the 1,100 phrases submitted many have shown viewpoints on the president in both English and Spanish.”\u003c/p>\n\u003cp>Large red bars block out the six phrases that follow, rendering them illegible.\u003c/p>\n\u003cp>“I think it’s important that people know those voices existed, even if I can’t physically project them in the work,” Chan says. “I want to illuminate their absence.”\u003c/p>\n\u003cfigure id=\"attachment_13864758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg\" alt=\"The "disclaimer" Chan inserted into the 'Inside Out' video following the city attorney's recommendation to remove a phrase critical of the president.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The “disclaimer” Chan inserted into the ‘Inside Out’ video following the city attorney’s recommendation to remove a phrase critical of the president. \u003ccite>(James Ken Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Inside Out\u003c/i> received its submissions during public workshops conducted in English, Spanish and Mandarin Chinese, and via an online portal. The project catchphrase is “Speak your truth.” Prompts for phrases (limited to seven words or less) include “Tell us your life story,” “Thank someone for doing something great for you,” and “I worry about _____.”\u003c/p>\n\u003cp>After a month of collecting submissions, Chan distilled the phrases down to a representative group of 100, which she presented for review to the Richmond Arts and Culture Commission (RACC) at their July 23 meeting, per her grant contract with the city. The commission accepted all the phrases except for one: “Donald Trump, te perdono por rasista” [sic] (essentially, “I forgive Donald Trump for being racist”).\u003c/p>\n\u003cp>Chan says she included this particular phrase in the winnowed-down group because of its poetic quality. “I felt like it encompassed a lot of what other people were saying, but in a new way,” Chan says. “There were a lot of statements alluding to Trump being racist.” She estimates between 40 and 50 submissions of the 1,100 referred to the president by name—many of them critical.\u003c/p>\n\u003cp>Yet, Chan notes, “Everyone was very respectful in their submissions, no one was saying profane things. I was really moved by how thoughtful some of the phrases were.”\u003c/p>\n\u003cfigure id=\"attachment_13864759\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864759\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg\" alt=\"Chan (second from right) at a workshop for 'Inside Out' at NIAD, one of several Richmond community partners that facilitated the project's submission gathering.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Chan (second from right) at a workshop for ‘Inside Out’ at NIAD, one of several Richmond community partners that facilitated the project’s submission gathering. \u003ccite>(Ellen Gailing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michele Seville, arts and culture manager for the Richmond Arts & Culture Division, who shepherded the project to completion, says the RACC was cautious in part because they were unsure about official policies regarding political statements on city buildings. It might be easy to dismiss the city’s response as alarmist censorship, but such decisions are complicated by the \u003ca href=\"https://www.kqed.org/news/11684223/us-appeals-court-rules-trump-sanctuary-cities-order-illegal\" target=\"_blank\" rel=\"noopener\">president’s own attempts\u003c/a> to withhold federal funding from cities like Richmond.\u003c/p>\n\u003cp>“Richmond is a sanctuary city, and they didn’t want to jeopardize its status or its state/federal benefits,” says Seville.\u003c/p>\n\u003cp>In fact, several participants in the project disclosed their undocumented status to Chan, who says the option to submit phrases anonymously gave people the freedom to say what was really on their minds. \u003ca href=\"https://www.census.gov/quickfacts/richmondcitycalifornia\" target=\"_blank\" rel=\"noopener\">Recent census data\u003c/a> shows over 35 percent of Richmond’s residents are foreign born.\u003c/p>\n\u003cp>In the weeks that followed the July meeting, the city attorney’s office reviewed the phrase and recommended removing it from the public presentation. “They advised that it was best not to include it unless it was approved by both the RACC and the Richmond City Council,” Seville says.\u003c/p>\n\u003cp>The city’s summer schedule prevented any such approval. “There wasn’t time to get the art commission to approve it before the quotes were projected, and the city council does not meet during the month of August,” Seville explains. “So, the time for responding would be after \u003cem>Inside Out\u003c/em> was finished.”\u003c/p>\n\u003cp>Instead, Seville encouraged Chan to include mention of the phrase’s elimination in the final video. “I need to work within the boundaries of city policy and respect its decisions even when they might not be shared by myself or others,” Seville says.\u003c/p>\n\u003cp>https://vimeo.com/355516291\u003c/p>\n\u003cp>\u003ci>Courtesy of Inside Out / Christy Chan\u003c/i>\u003c/p>\n\u003cp>(Interestingly, a phrase that reads simply, “No more celebrity presidents” did not garner any objections from the RACC.)\u003c/p>\n\u003cp>Ultimately, not knowing the specific content of the phrases covered by red bars lends \u003ci>Inside Out\u003c/i> a subversive potency. Following phrases like “I dream of swimming in Mexico,” “Who will fight for us when we are all gone?” and “Nosotros immigrantes no somos delinquentes” (“We immigrants are not criminals”), it’s easy to imagine what the censored statements read. Their absence speaks volumes—about whose voices are amplified in public discourse, and whose are silenced.\u003c/p>\n\u003cp>“I feel invisible most of the time, I would like the opportunity to speak my mind,” one participant in the project wrote of their experience with \u003ci>Inside Out\u003c/i>. “We are Richmond, we need to be heard,” wrote another.\u003c/p>\n\u003cp>Seville agrees with these sentiments, “This project is truly the voice of the people.”\u003c/p>\n\u003cp>Though frustrated by the city’s decision, Chan encourages other artists to take on the challenge of public art projects. “I have deep respect for what art can do for communities,” she writes in a statement posted to the \u003ci>Inside Out\u003c/i> website on Aug. 23. “Community art is worth making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>‘Inside Out’ is on view through Aug. 25, 8–11pm nightly. A reception will be held Saturday, Aug. 24, 7–9:30pm at the Richmond Art Center. \u003ca href=\"http://richmondartcenter.org/event/inside-out-community-party/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just five nights, the north wall of Richmond’s Memorial Auditorium belongs not to the city, but to the people of Richmond. Between the hours of 8 and 11pm, Aug. 21–25, \u003ca href=\"https://www.christychan.com/\" target=\"_blank\" rel=\"noopener\">Christy Chan\u003c/a>’s public art piece \u003ci>\u003ca href=\"https://www.insideoutrichmond.org/\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>\u003c/i> projects a looping video of large text onto the auditorium’s brick tower, all phrases collected from Richmond residents. The 75-minute video includes personal aspirations, dreams for Richmond, worries about the fate of the planet, messages of forgiveness and notes of encouragement.\u003c/p>\n\u003cp>But markedly absent from the projection are any submissions critical of President Trump or his government’s policies. Instead, a message appears in blue: “The city of Richmond has banned us from projecting phrases you submitted that criticize the President of the United States by name. Of the 1,100 phrases submitted many have shown viewpoints on the president in both English and Spanish.”\u003c/p>\n\u003cp>Large red bars block out the six phrases that follow, rendering them illegible.\u003c/p>\n\u003cp>“I think it’s important that people know those voices existed, even if I can’t physically project them in the work,” Chan says. “I want to illuminate their absence.”\u003c/p>\n\u003cfigure id=\"attachment_13864758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg\" alt=\"The "disclaimer" Chan inserted into the 'Inside Out' video following the city attorney's recommendation to remove a phrase critical of the president.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The “disclaimer” Chan inserted into the ‘Inside Out’ video following the city attorney’s recommendation to remove a phrase critical of the president. \u003ccite>(James Ken Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Inside Out\u003c/i> received its submissions during public workshops conducted in English, Spanish and Mandarin Chinese, and via an online portal. The project catchphrase is “Speak your truth.” Prompts for phrases (limited to seven words or less) include “Tell us your life story,” “Thank someone for doing something great for you,” and “I worry about _____.”\u003c/p>\n\u003cp>After a month of collecting submissions, Chan distilled the phrases down to a representative group of 100, which she presented for review to the Richmond Arts and Culture Commission (RACC) at their July 23 meeting, per her grant contract with the city. The commission accepted all the phrases except for one: “Donald Trump, te perdono por rasista” [sic] (essentially, “I forgive Donald Trump for being racist”).\u003c/p>\n\u003cp>Chan says she included this particular phrase in the winnowed-down group because of its poetic quality. “I felt like it encompassed a lot of what other people were saying, but in a new way,” Chan says. “There were a lot of statements alluding to Trump being racist.” She estimates between 40 and 50 submissions of the 1,100 referred to the president by name—many of them critical.\u003c/p>\n\u003cp>Yet, Chan notes, “Everyone was very respectful in their submissions, no one was saying profane things. I was really moved by how thoughtful some of the phrases were.”\u003c/p>\n\u003cfigure id=\"attachment_13864759\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864759\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg\" alt=\"Chan (second from right) at a workshop for 'Inside Out' at NIAD, one of several Richmond community partners that facilitated the project's submission gathering.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Chan (second from right) at a workshop for ‘Inside Out’ at NIAD, one of several Richmond community partners that facilitated the project’s submission gathering. \u003ccite>(Ellen Gailing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michele Seville, arts and culture manager for the Richmond Arts & Culture Division, who shepherded the project to completion, says the RACC was cautious in part because they were unsure about official policies regarding political statements on city buildings. It might be easy to dismiss the city’s response as alarmist censorship, but such decisions are complicated by the \u003ca href=\"https://www.kqed.org/news/11684223/us-appeals-court-rules-trump-sanctuary-cities-order-illegal\" target=\"_blank\" rel=\"noopener\">president’s own attempts\u003c/a> to withhold federal funding from cities like Richmond.\u003c/p>\n\u003cp>“Richmond is a sanctuary city, and they didn’t want to jeopardize its status or its state/federal benefits,” says Seville.\u003c/p>\n\u003cp>In fact, several participants in the project disclosed their undocumented status to Chan, who says the option to submit phrases anonymously gave people the freedom to say what was really on their minds. \u003ca href=\"https://www.census.gov/quickfacts/richmondcitycalifornia\" target=\"_blank\" rel=\"noopener\">Recent census data\u003c/a> shows over 35 percent of Richmond’s residents are foreign born.\u003c/p>\n\u003cp>In the weeks that followed the July meeting, the city attorney’s office reviewed the phrase and recommended removing it from the public presentation. “They advised that it was best not to include it unless it was approved by both the RACC and the Richmond City Council,” Seville says.\u003c/p>\n\u003cp>The city’s summer schedule prevented any such approval. “There wasn’t time to get the art commission to approve it before the quotes were projected, and the city council does not meet during the month of August,” Seville explains. “So, the time for responding would be after \u003cem>Inside Out\u003c/em> was finished.”\u003c/p>\n\u003cp>Instead, Seville encouraged Chan to include mention of the phrase’s elimination in the final video. “I need to work within the boundaries of city policy and respect its decisions even when they might not be shared by myself or others,” Seville says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Courtesy of Inside Out / Christy Chan\u003c/i>\u003c/p>\n\u003cp>(Interestingly, a phrase that reads simply, “No more celebrity presidents” did not garner any objections from the RACC.)\u003c/p>\n\u003cp>Ultimately, not knowing the specific content of the phrases covered by red bars lends \u003ci>Inside Out\u003c/i> a subversive potency. Following phrases like “I dream of swimming in Mexico,” “Who will fight for us when we are all gone?” and “Nosotros immigrantes no somos delinquentes” (“We immigrants are not criminals”), it’s easy to imagine what the censored statements read. Their absence speaks volumes—about whose voices are amplified in public discourse, and whose are silenced.\u003c/p>\n\u003cp>“I feel invisible most of the time, I would like the opportunity to speak my mind,” one participant in the project wrote of their experience with \u003ci>Inside Out\u003c/i>. “We are Richmond, we need to be heard,” wrote another.\u003c/p>\n\u003cp>Seville agrees with these sentiments, “This project is truly the voice of the people.”\u003c/p>\n\u003cp>Though frustrated by the city’s decision, Chan encourages other artists to take on the challenge of public art projects. “I have deep respect for what art can do for communities,” she writes in a statement posted to the \u003ci>Inside Out\u003c/i> website on Aug. 23. “Community art is worth making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>‘Inside Out’ is on view through Aug. 25, 8–11pm nightly. A reception will be held Saturday, Aug. 24, 7–9:30pm at the Richmond Art Center. \u003ca href=\"http://richmondartcenter.org/event/inside-out-community-party/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Does the Bay Area know about Lynda Benglis? Long a New York legend, her knotty, blobby, materially adventurous sculptures appear minimally in just a few local museums. SFMOMA seems to have \u003ca href=\"https://www.sfmoma.org/artist/Lynda_Benglis/\" rel=\"noopener\" target=\"_blank\">one\u003c/a>, as does Stanford’s \u003ca href=\"https://anderson.stanford.edu/collection/plum-by-lynda-benglis/\" rel=\"noopener\" target=\"_blank\">Anderson Collection\u003c/a>. The de Young might have something in its \u003ca href=\"https://deyoung.famsf.org/deyoung/collections/dorothy-george-saxe-collection-contemporary-craft\" rel=\"noopener\" target=\"_blank\">Dorothy & George Saxe Collection of Contemporary Craft\u003c/a>, but searches within the OMCA and BAMPFA holdings yield no results.\u003c/p>\n\u003cp>To discover just how much we’re missing out on, Pace’s Palo Alto outpost kindly presents \u003ci>\u003ca href=\"https://www.pacegallery.com/exhibitions/13049/lynda-benglis\" rel=\"noopener\" target=\"_blank\">LYNDA BENGLIS\u003c/a>\u003c/i>, a mini-retrospective of 20 works from the 1970s to the present and the artist’s first Bay Area solo exhibition in over 15 years. Her full range of approaches and materials are on view: Benglis casts biomorphic abstract sculptures in materials like aluminum and pigmented polyurethane (semitransparent, globular objects that seem to glow from within), builds up surfaces with resin and beeswax, or layers sparkly handmade paper over chicken wire shapes. \u003c/p>\n\u003cp>In the 1960s, Benglis became known for her colorful latex and foam pours—physically impressive responses to a male-dominated (and wall-mounted) art scene. And she never let up. Now 77, she’s still producing large-scale work, testaments to her stance, as stated in a \u003ca href=\"https://www.nytimes.com/2019/08/16/t-magazine/lynda-benglis.html\" rel=\"noopener\" target=\"_blank\">recent interview\u003c/a>: “I am not interested in going backward.”\u003c/p>\n\u003cp>For more juicy bon mots, Benglis arrives in our neck of the woods for a conversation with writer, curator and activist Kimberly Drew on \u003ca href=\"https://arts.stanford.edu/office-of-the-vice-president-for-the-arts/artists-on-the-future/\" rel=\"noopener\" target=\"_blank\">Oct. 22 at Stanford\u003c/a>. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Does the Bay Area know about Lynda Benglis? Long a New York legend, her knotty, blobby, materially adventurous sculptures appear minimally in just a few local museums. SFMOMA seems to have \u003ca href=\"https://www.sfmoma.org/artist/Lynda_Benglis/\" rel=\"noopener\" target=\"_blank\">one\u003c/a>, as does Stanford’s \u003ca href=\"https://anderson.stanford.edu/collection/plum-by-lynda-benglis/\" rel=\"noopener\" target=\"_blank\">Anderson Collection\u003c/a>. The de Young might have something in its \u003ca href=\"https://deyoung.famsf.org/deyoung/collections/dorothy-george-saxe-collection-contemporary-craft\" rel=\"noopener\" target=\"_blank\">Dorothy & George Saxe Collection of Contemporary Craft\u003c/a>, but searches within the OMCA and BAMPFA holdings yield no results.\u003c/p>\n\u003cp>To discover just how much we’re missing out on, Pace’s Palo Alto outpost kindly presents \u003ci>\u003ca href=\"https://www.pacegallery.com/exhibitions/13049/lynda-benglis\" rel=\"noopener\" target=\"_blank\">LYNDA BENGLIS\u003c/a>\u003c/i>, a mini-retrospective of 20 works from the 1970s to the present and the artist’s first Bay Area solo exhibition in over 15 years. Her full range of approaches and materials are on view: Benglis casts biomorphic abstract sculptures in materials like aluminum and pigmented polyurethane (semitransparent, globular objects that seem to glow from within), builds up surfaces with resin and beeswax, or layers sparkly handmade paper over chicken wire shapes. \u003c/p>\n\u003cp>In the 1960s, Benglis became known for her colorful latex and foam pours—physically impressive responses to a male-dominated (and wall-mounted) art scene. And she never let up. Now 77, she’s still producing large-scale work, testaments to her stance, as stated in a \u003ca href=\"https://www.nytimes.com/2019/08/16/t-magazine/lynda-benglis.html\" rel=\"noopener\" target=\"_blank\">recent interview\u003c/a>: “I am not interested in going backward.”\u003c/p>\n\u003cp>For more juicy bon mots, Benglis arrives in our neck of the woods for a conversation with writer, curator and activist Kimberly Drew on \u003ca href=\"https://arts.stanford.edu/office-of-the-vice-president-for-the-arts/artists-on-the-future/\" rel=\"noopener\" target=\"_blank\">Oct. 22 at Stanford\u003c/a>. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Les Sauvages de la Mer Pacifique\u003c/i>, a large 19th-century wallpaper at the de Young Museum, depicts a romanticized version of British Captain James Cook’s three expeditions to the Pacific, and primarily Polynesia. At over 17 feet long, the scene portrays happy people lounging, dancing and unhurriedly working in a verdant tropical setting. \u003c/p>\n\u003cp>And though each of the 20 panels is meant to represent different locales from Cook’s journeys, the continuous landscape does not readily present the distinction between people and places, not least of all because designer Jean-Gabriel Charvet drew on attire from classical antiquity and the French Empire period when illustrating the people of the Pacific. This results in a scene that is ahistorical even before considering history. The greatest distortion, however, is the artist’s failure to represent the violence and colonization that Cook and the British brought to the Pacific.\u003c/p>\n\u003cp>After chancing upon the wallpaper in an Australian museum, Lisa Reihana, a Māori artist from New Zealand, embarked on a decade-long project to reimagine \u003ci>Les Sauvages de la Mer Pacifique\u003c/i> by infusing it with the truth that it lacks.\u003c/p>\n\u003cfigure id=\"attachment_13864092\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg\" alt=\"Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), 'Les Sauvages de la Mer Pacifique,' ca. 1804–1806.\" width=\"1500\" height=\"726\" class=\"size-full wp-image-13864092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-768x372.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1020x494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1200x581.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), ‘Les Sauvages de la Mer Pacifique,’ ca. 1804–1806. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is stunning. Reihana’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\">\u003ci>in Pursuit of Venus [infected]\u003c/i>\u003c/a>, on view at the de Young until Jan. 5, takes the form of an immersive video that scrolls along a 70-foot screen. The illustrated background is much like Charvet’s, lending an animated feel to the video, but Reihana’s update is populated with a filmed cast of more than 100 characters and performers, all integrated beautifully and seamlessly into the landscape.\u003c/p>\n\u003cp>Though the video loops back on itself and has no definite beginning or end, there is a narrative progression. Prior to Cook’s arrival, the locals are shown living a life not too unlike that depicted by Charvet—they appear happy and fulfilled. Immediately following the arrival of the explorers, the various groups appear to get along relatively well. But minor hostility on the part of the British quickly devolves into the torture and subjugation of the locals, culminating in the killing of Cook as he tries to kidnap Kalaniʻōpuʻu, the ruler of Hawaiʻi (a true story).\u003c/p>\n\u003cfigure id=\"attachment_13864315\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg\" alt=\"Lisa Reihana, detail 'in Pursuit of Venus [infected],' 2015–17.\" width=\"1200\" height=\"594\" class=\"size-full wp-image-13864315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-1020x505.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, detail ‘in Pursuit of Venus [infected],’ 2015–17. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellingly, the first act of violence depicted isn’t a member of Cook’s crew attacking one of the locals, but rather a member of the expedition whipping his comrade. In early scenes the locals are seen tattooing British men, helping them apply body paint, and entertaining them, such as with a comedic mock childbirth with a grown man playing the part of the baby. And while Cook and his crew seem friendly enough at first, the whipping of one of their own breaks the peace—an anticipated inevitability for students of history—and suggests that while they have met with hospitality, the British have brought their own violence and inherited trauma to the Pacific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even when it isn’t made heroic in retellings, colonial violence is sometimes dismissed as the unavoidable result of clashing civilizations in which neither party (especially the colonial party) is free from blame. But Lisa Reihana makes clear that the ensuing destruction came from and within the British.\u003c/p>\n\u003cp>The video is billed as 64 minutes long, but in truth it is much longer. There are simultaneous scenes on the screen at any given time, and it is impossible to fully devote one’s attention to all of them. Once you move on from a scene, it continues to play out regardless of the attention you give it. And if you keep your gaze on it until it exits the screen, you will miss the new scenes that have entered the frame. To combine the time of all of the vignettes might triple or quadruple the length of the piece. Having watched the piece in its entirety, and then some, I wonder what nuance or detail I may yet have missed.\u003c/p>\n\u003cfigure id=\"attachment_13864094\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg\" alt=\"Lisa Reihana, Installation view of 'in Pursuit of Venus [infected],' at de Young Museum, 2019.\" width=\"2048\" height=\"1537\" class=\"size-full wp-image-13864094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, Installation view of ‘in Pursuit of Venus [infected],’ at de Young Museum, 2019. \u003ccite>(Photo by Randy Dodson; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this only contributes to the mesmerizing nature of the video. In the peaceful moments, the beauty of the setting, the music and the dancing are captivating, and rather than trying to take in every element (an impossibility), I surrendered myself to the aesthetic experience.\u003c/p>\n\u003cp>At other times, the video is a cacophony of suspenseful music, screaming and violence. I was ensnared in these moments as well, but it was the spectacle of oppression that had its grip on me, not beauty.\u003c/p>\n\u003cp>This is a mirror to the reality of colonial violence, which can be overwhelming in its overactivity. The bombardment of the mind can make it too easy to miss details, make it difficult to follow narratives, and ultimately cause bewilderment. And colonialists benefit when it becomes more difficult to hold them to account. There is a difference between an artwork that overwhelms you for a few minutes and centuries of disorientation, exhaustion and propaganda.\u003c/p>\n\u003cp>\u003ci>in Pursuit of Venus [infected]\u003c/i> illustrates the violence and arrogance of colonial endeavors, as well as its dizzying effect on history making. The lesson is not just in the film’s content but in the impact that content has on the senses.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘in Pursuit of Venus [infected]’ is on view at the de Young through Jan. 5, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "Video Artist Lisa Reihana Brings Truth Back to the History of the Pacific | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Les Sauvages de la Mer Pacifique\u003c/i>, a large 19th-century wallpaper at the de Young Museum, depicts a romanticized version of British Captain James Cook’s three expeditions to the Pacific, and primarily Polynesia. At over 17 feet long, the scene portrays happy people lounging, dancing and unhurriedly working in a verdant tropical setting. \u003c/p>\n\u003cp>And though each of the 20 panels is meant to represent different locales from Cook’s journeys, the continuous landscape does not readily present the distinction between people and places, not least of all because designer Jean-Gabriel Charvet drew on attire from classical antiquity and the French Empire period when illustrating the people of the Pacific. This results in a scene that is ahistorical even before considering history. The greatest distortion, however, is the artist’s failure to represent the violence and colonization that Cook and the British brought to the Pacific.\u003c/p>\n\u003cp>After chancing upon the wallpaper in an Australian museum, Lisa Reihana, a Māori artist from New Zealand, embarked on a decade-long project to reimagine \u003ci>Les Sauvages de la Mer Pacifique\u003c/i> by infusing it with the truth that it lacks.\u003c/p>\n\u003cfigure id=\"attachment_13864092\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg\" alt=\"Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), 'Les Sauvages de la Mer Pacifique,' ca. 1804–1806.\" width=\"1500\" height=\"726\" class=\"size-full wp-image-13864092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-768x372.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1020x494.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Dufour_Charvet_A332373_Complete_AT_8-1200x581.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Dufour et Cie (printer) and Jean Gabriel Charvet (designer), ‘Les Sauvages de la Mer Pacifique,’ ca. 1804–1806. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is stunning. Reihana’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\">\u003ci>in Pursuit of Venus [infected]\u003c/i>\u003c/a>, on view at the de Young until Jan. 5, takes the form of an immersive video that scrolls along a 70-foot screen. The illustrated background is much like Charvet’s, lending an animated feel to the video, but Reihana’s update is populated with a filmed cast of more than 100 characters and performers, all integrated beautifully and seamlessly into the landscape.\u003c/p>\n\u003cp>Though the video loops back on itself and has no definite beginning or end, there is a narrative progression. Prior to Cook’s arrival, the locals are shown living a life not too unlike that depicted by Charvet—they appear happy and fulfilled. Immediately following the arrival of the explorers, the various groups appear to get along relatively well. But minor hostility on the part of the British quickly devolves into the torture and subjugation of the locals, culminating in the killing of Cook as he tries to kidnap Kalaniʻōpuʻu, the ruler of Hawaiʻi (a true story).\u003c/p>\n\u003cfigure id=\"attachment_13864315\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg\" alt=\"Lisa Reihana, detail 'in Pursuit of Venus [infected],' 2015–17.\" width=\"1200\" height=\"594\" class=\"size-full wp-image-13864315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/in-Pursuit-of-Venus-infected-2015-17-STILL-05_1200-1020x505.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, detail ‘in Pursuit of Venus [infected],’ 2015–17. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tellingly, the first act of violence depicted isn’t a member of Cook’s crew attacking one of the locals, but rather a member of the expedition whipping his comrade. In early scenes the locals are seen tattooing British men, helping them apply body paint, and entertaining them, such as with a comedic mock childbirth with a grown man playing the part of the baby. And while Cook and his crew seem friendly enough at first, the whipping of one of their own breaks the peace—an anticipated inevitability for students of history—and suggests that while they have met with hospitality, the British have brought their own violence and inherited trauma to the Pacific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even when it isn’t made heroic in retellings, colonial violence is sometimes dismissed as the unavoidable result of clashing civilizations in which neither party (especially the colonial party) is free from blame. But Lisa Reihana makes clear that the ensuing destruction came from and within the British.\u003c/p>\n\u003cp>The video is billed as 64 minutes long, but in truth it is much longer. There are simultaneous scenes on the screen at any given time, and it is impossible to fully devote one’s attention to all of them. Once you move on from a scene, it continues to play out regardless of the attention you give it. And if you keep your gaze on it until it exits the screen, you will miss the new scenes that have entered the frame. To combine the time of all of the vignettes might triple or quadruple the length of the piece. Having watched the piece in its entirety, and then some, I wonder what nuance or detail I may yet have missed.\u003c/p>\n\u003cfigure id=\"attachment_13864094\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg\" alt=\"Lisa Reihana, Installation view of 'in Pursuit of Venus [infected],' at de Young Museum, 2019.\" width=\"2048\" height=\"1537\" class=\"size-full wp-image-13864094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_DEY_LIsaReihana_V25-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Reihana, Installation view of ‘in Pursuit of Venus [infected],’ at de Young Museum, 2019. \u003ccite>(Photo by Randy Dodson; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this only contributes to the mesmerizing nature of the video. In the peaceful moments, the beauty of the setting, the music and the dancing are captivating, and rather than trying to take in every element (an impossibility), I surrendered myself to the aesthetic experience.\u003c/p>\n\u003cp>At other times, the video is a cacophony of suspenseful music, screaming and violence. I was ensnared in these moments as well, but it was the spectacle of oppression that had its grip on me, not beauty.\u003c/p>\n\u003cp>This is a mirror to the reality of colonial violence, which can be overwhelming in its overactivity. The bombardment of the mind can make it too easy to miss details, make it difficult to follow narratives, and ultimately cause bewilderment. And colonialists benefit when it becomes more difficult to hold them to account. There is a difference between an artwork that overwhelms you for a few minutes and centuries of disorientation, exhaustion and propaganda.\u003c/p>\n\u003cp>\u003ci>in Pursuit of Venus [infected]\u003c/i> illustrates the violence and arrogance of colonial endeavors, as well as its dizzying effect on history making. The lesson is not just in the film’s content but in the impact that content has on the senses.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘in Pursuit of Venus [infected]’ is on view at the de Young through Jan. 5, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/lisa-reihana-pursuit-venus-infected\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’",
"headTitle": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’ | KQED",
"content": "\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\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 no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\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>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>[pullquote size='large']He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.[/pullquote]\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\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 no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\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>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dream Day 2019: Celebrating Mike 'Dream' Francisco's 50th Birthday",
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"content": "\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Despite the extravagant, bombastic name, the members of \u003ca href=\"http://bonanzallc.co\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a> (the collaborative art practice of Conrad Guevara, Lindsay Tully and Lana Williams), aren’t as interested in occupying the spotlight as they are in creating opportunities for others to shine. “We’re a platform,” Tully says. “We will design or curate a situation, set up the scene.”\u003c/p>\n\u003cp>On a late September evening in 2018, that scene was a fashion show \u003cem>The Young and the Restless\u003c/em>. Models powerfully stalked an actual platform—a 50-foot-long runway made out of recycled pallets—showing off dozens of looks sourced almost entirely from \u003ca href=\"https://www.recology.com/recology-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>, the city’s public dump.\u003c/p>\n\u003cp>The show was the culmination of a four-month residency; the trio mined Recology’s public disposal area for unorthodox materials like Lowe’s shopping bags, a hammock, shaped foam and fake foliage, custom-fit their outfits to each model and coached their volunteers (fellow artists, members of the queer community and nightlife scene) in runway tactics. “We like to make people feel like we’re empowering them,” says Guevara. “We think of them as professional and their time is valuable.” That experience, in turn, can help people ask for what they want—and get it.\u003c/p>\n\u003cfigure id=\"attachment_13863940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg\" alt=\"Models in Bonanza's fashion show at San Francisco's city dump show off looks transformed from trash\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Johnson leads a group of models in Bonanza’s fashion show at the city dump\u003c/figcaption>\u003c/figure>\n\u003cp>Jasmine Johnson, one of Bonanza’s models, can attest to this. “I’m usually not a performer,” she says. “Bonanza, I think, is the only group that could get me to do something like this. They always make you feel really positive, really confident. We’re walking like New York Fashion Week or something!”\u003c/p>\n\u003cp>Watching material arrive at Recology often took an emotional toll on the artists, reinforcing the importance of the space they were creating through fashion and performance. “You see a lot of things come from old homes in San Francisco,” Guevara says. “Like old patio furniture—and then old drywall with wallpaper. So you know someone is flipping a house to make it into a luxury home for a single family when maybe it was an apartment building for multiple families.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the sun set, spreading golden light across Recology’s courtyard and glinting off of parade floats repurposed as gowns, such concerns temporarily lift, fulfilling Williams’ stated goal: “We hope this allows the people we work with the space and freedom to access and express a part of themselves they couldn’t before.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite the extravagant, bombastic name, the members of \u003ca href=\"http://bonanzallc.co\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a> (the collaborative art practice of Conrad Guevara, Lindsay Tully and Lana Williams), aren’t as interested in occupying the spotlight as they are in creating opportunities for others to shine. “We’re a platform,” Tully says. “We will design or curate a situation, set up the scene.”\u003c/p>\n\u003cp>On a late September evening in 2018, that scene was a fashion show \u003cem>The Young and the Restless\u003c/em>. Models powerfully stalked an actual platform—a 50-foot-long runway made out of recycled pallets—showing off dozens of looks sourced almost entirely from \u003ca href=\"https://www.recology.com/recology-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>, the city’s public dump.\u003c/p>\n\u003cp>The show was the culmination of a four-month residency; the trio mined Recology’s public disposal area for unorthodox materials like Lowe’s shopping bags, a hammock, shaped foam and fake foliage, custom-fit their outfits to each model and coached their volunteers (fellow artists, members of the queer community and nightlife scene) in runway tactics. “We like to make people feel like we’re empowering them,” says Guevara. “We think of them as professional and their time is valuable.” That experience, in turn, can help people ask for what they want—and get it.\u003c/p>\n\u003cfigure id=\"attachment_13863940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg\" alt=\"Models in Bonanza's fashion show at San Francisco's city dump show off looks transformed from trash\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bonanza2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Johnson leads a group of models in Bonanza’s fashion show at the city dump\u003c/figcaption>\u003c/figure>\n\u003cp>Jasmine Johnson, one of Bonanza’s models, can attest to this. “I’m usually not a performer,” she says. “Bonanza, I think, is the only group that could get me to do something like this. They always make you feel really positive, really confident. We’re walking like New York Fashion Week or something!”\u003c/p>\n\u003cp>Watching material arrive at Recology often took an emotional toll on the artists, reinforcing the importance of the space they were creating through fashion and performance. “You see a lot of things come from old homes in San Francisco,” Guevara says. “Like old patio furniture—and then old drywall with wallpaper. So you know someone is flipping a house to make it into a luxury home for a single family when maybe it was an apartment building for multiple families.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And if you find yourself inspired by the aforementioned scene, the Mutual Stores folks might know where you can sign up for some pottery classes. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Steel, Wood and ... Uranium Ore? Vallejo Show Draws From City’s Naval History",
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"content": "\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://matthewkerkhof.com/section/241920.html\" rel=\"noopener\" target=\"_blank\">Matthew Kerkhof\u003c/a> is good at convincing people to visit Vallejo. And no, he is not employed by the city’s chamber of commerce.\u003c/p>\n\u003cp>He’s an artist with a garage-turned-exhibition space, dubbed Brittany after the name someone carved into once-wet concrete in front of his house. The occasion for his gentle persuasion is a fairly easy sell: \u003ca href=\"http://marshallelliott.com/\" rel=\"noopener\" target=\"_blank\">Marshall Elliott\u003c/a>’s thoughtful \u003ci>Rates of Disappearance\u003c/i>, a show inspired by nearby Mare Island and its history, a show of measurement and communication devices—and a small container of radioactive uranium ore.\u003c/p>\n\u003cp>Though its exterior is an unmissable shade of faded salmon, Brittany’s interior is spare and unadorned, every surface painted a semitransparent white. Smooth drywall covers one wall, floor-to-ceiling, roughly hewn shelving another. Strips of fluorescent lighting hang from the rafters.\u003c/p>\n\u003cfigure id=\"attachment_13863432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg\" alt=\"Installation view of Marshall Elliott, 'Rates of Disappearance,' 2019.\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13863432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_10_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Marshall Elliott, ‘Rates of Disappearance,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked into the spaces between the walls’ two-by-fours, sitting on the floor and hanging from the ceiling are Elliott’s sculptures, made of wood, lead, cast aluminum, half-burned signal flags, steel and the aforementioned uranium.\u003c/p>\n\u003cp>It’s a lot of work for such a small space, and some of the more minimal gestures (a series called \u003ci>Lead Shields\u003c/i> or the 40 “rulers” of \u003ci>Your Foot Project\u003c/i>) might have been better served with more breathing room, but the artist’s curiosity about local naval history and the legacy of that enterprise is obvious, and ultimately, contagious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s introduction comes outside the gallery, with the first lead shield: a sheet of the thin, malleable metal “stretched” over plywood, like canvas, and secured around the edges with tacks. A message stamped into the surface reads, “I am abandoning my vessel which has suffered a nuclear accident and is a possible source of radiation danger.” Elliott scaled all the works in this series to the dimensions of various U.S. paper sizes, imbuing even the blank shields with the quality of an official pronouncement.\u003c/p>\n\u003cfigure id=\"attachment_13863433\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg\" alt=\"Marshall Elliott, 'Lead Shields,' 2019.\" width=\"1200\" height=\"908\" class=\"size-full wp-image-13863433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_11_1200-1020x772.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Lead Shields,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That distress/welcome phrase comes from the \u003ca href=\"https://en.wikipedia.org/wiki/International_Code_of_Signals\" rel=\"noopener\" target=\"_blank\">International Code of Signals\u003c/a>, represented by the flags for “A” and “D,” which Elliott fabricates as a pair of lightboxes inside the garage. And it’s not pulled out of thin air: Between 1957 and 1970, the Mare Island Naval Shipyard built and launched 17 nuclear-powered submarines, including the \u003ca href=\"https://en.wikipedia.org/wiki/USS_Guitarro_(SSN-665)\" rel=\"noopener\" target=\"_blank\">USS Guitarro\u003c/a>, which sank during construction and had to be refloated (at massive cost) three days later.\u003c/p>\n\u003cp>The culprit for that snafu? Two crews working on the submarine were filling its ballast tanks at the same time, trying to achieve different levels of balance and adding tons of water in the process. For Elliott, this story perfectly encapsulates the hazards of different measurement systems, exacerbated by a lack of communication, and the potential for harm in structures (or materials) meant to protect.\u003c/p>\n\u003cfigure id=\"attachment_13863434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg\" alt=\"Marshall Elliott, 'Your Foot Project,' 2019.\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13863434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_20_1200-1020x623.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Your Foot Project,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Your Foot Project\u003c/i>, evenly installed on the garage’s built-in shelves, comprises a series of wooden rulers whose lengths were determined by asking people for their estimation of a foot, then dividing that distance into 12 “inches.” (For those who measure the world in the much more rational metric system, Elliott asked them to identify 30.48 cm and divided the length up accordingly.) Individual understandings of space and distance sometimes vary by several actual inches; no two feet are the same.\u003c/p>\n\u003cp>In the center of the gallery stands \u003ci>Rates of Decay\u003c/i>, a bit of uranium ore (purchased online) inside a lead pig, under a Plexi vitrine, all atop a gangly pedestal Elliott welded together from short segments of steel. That lead, which usually gives me a sensation of unease, blocks the ore’s small amount of radiation. (Elliott has a Geiger counter to confirm this reassuring fact.) \u003c/p>\n\u003cfigure id=\"attachment_13863435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg\" alt=\"Marshall Elliott, 'Rates of Decay,' 2019.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13863435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RatesofDisappearance_35_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Rates of Decay,’ 2019. \u003ccite>(Courtesy of the artist and Brittany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material shift—from toxic metal to protective container—captures some of the trade-offs at play in Vallejo’s contemporary moment, especially when it comes to the \u003ca href=\"https://www.kqed.org/arts/13861897/in-vallejo-bureaucratic-bullying-threatens-a-nature-preserve-and-unlikely-arts-hub\" rel=\"noopener\" target=\"_blank\">ongoing saga of Mare Island\u003c/a>. The shipyard that once employed tens of thousands of Vallejo’s civilians is now the site of \u003ca href=\"https://projects.propublica.org/bombs/installation/CA9170024775001700\" rel=\"noopener\" target=\"_blank\">ongoing military cleanup actions\u003c/a>. What powers a city or a submarine at one point in history (military contracts or radioactive material, respectively) can have dangerously long-lasting consequences generations later. \u003c/p>\n\u003cp>Despite its dismal welcoming message, \u003ci>Rates of Disappearance\u003c/i> isn’t without optimism. The repeated gesture of measurement, the attempts, however garbled, at communication, betray a hope for a future that might take a closer look at the mistakes of the past, and instead of erasing them, put them under a vitrine (and inside lead shielding) for close and continued study.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Rates of Disappearance’ is on view at Brittany (801 Sacramento Street, Vallejo) through Sep. 21. \u003ca href=\"https://brittany-vallejo-art.tumblr.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Weekend Picks for Aug. 9–15",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Those Dancin’ Feet’\u003c/strong>: There’s something special about the Transcendence Theatre Company, made up of Broadway professionals on summertime leave from New York. For starters, their shows are in a gorgeous outdoor setting: under the stars, inside old stone ruins at Jack London State Park. Secondly, they raise money for state parks. But the main thing is the productions are always a hell of a good time. Their latest show opens Aug. 9, at Jack London State Park in Glen Ellen. \u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Those Dancin’ Feet’\u003c/strong>: There’s something special about the Transcendence Theatre Company, made up of Broadway professionals on summertime leave from New York. For starters, their shows are in a gorgeous outdoor setting: under the stars, inside old stone ruins at Jack London State Park. Secondly, they raise money for state parks. But the main thing is the productions are always a hell of a good time. Their latest show opens Aug. 9, at Jack London State Park in Glen Ellen. \u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color",
"headTitle": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color | KQED",
"content": "\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Weekend Picks for Aug. 2–9",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"tagline": "Art is where you find it",
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"soldout": {
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"tvMonthlyScheduleReducer": {},
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},
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"checkPleaseReducer": {
"filterData": {
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"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
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},
"restaurantDataById": {},
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"userAgentReducer": {
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"isBot": true
},
"requestOutcomesReducer": {
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}
}
