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"content": "\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\n\u003cp>https://youtu.be/Po7eU4xo54w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Nearly two-dozen works by the influential French filmmaker, who passed away earlier this year, screen on both sides of the Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Po7eU4xo54w'\n title='//www.youtube.com/embed/Po7eU4xo54w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung, Pendarvis Harshaw and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Richard Thompson\u003c/strong>: We start our picks this week with a guy who only has 10 fingers—but plays guitar like he’s got 20. If you’ve never been to one of Richard Thompson’s shows, we can’t recommend it enough—he’s smart, funny, and a master storyteller with his between-song patter. “\u003ca href=\"https://www.youtube.com/watch?v=MOCZwKmjR6E\" rel=\"noopener noreferrer\" target=\"_blank\">1952 Black Vincent Lightning\u003c/a>” belongs in the Library of Congress as one of the all-time great love songs, and he even usually does a segment in his shows called “1,000 Years of Popular Music,” where he plays songs, yes, stretching back a thousand years. Richard Thompson plays Thursday, Nov. 7, at the Fillmore in San Francisco, and the next night, Nov. 8, at the Rio Theater in Santa Cruz. \u003ca href=\"https://www.richardthompson-music.com/tour-dates\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Immi/Tartine Pop-Up Dinner\u003c/strong>: This Sunday, local institution Tartine Manufactory teams up with a pop-up called \u003ca href=\"https://www.instagram.com/immi.sf/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Immi\u003c/a> (short for immigrant) for a special dinner collaboration. The founders of Immi bring foods they remember from their childhood to the table, with influences from their experience in professional kitchens like State Bird Provisions—they’ve done a rice pilaf dish, for example, that was inspired by a family recipe, but with a modern twist. At this next pop-up, based on hints from social media, it looks like scallion pancakes, long life noodles and Tartine country bread panzanella with an Immi stir fry are all hints of what’s to come. That’s Sunday, Nov. 10, at Tartine Manufactory. \u003ca href=\"https://www.opentable.com/s/?covers=2&dateTime=2019-11-10%2019%3A00&enableSimpleCuisines=true&includeTicketedAvailability=true&metroId=4&pageType=0&pinnedRids%5B0%5D=252190®ionIds=5&userlatitude=37.7795&userlongitude=-122.4195\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oakland Game Fest ’19\u003c/strong>: Have you ever wanted to test your gaming prowess against E-40? At Oakland Game Fest ’19, select attendees will get the change to play video games against a who’s-who of local stars, including E-40, Mistah FAB, Ryan Nicole, Just Blaze and more. In addition to squaring off against a bunch of young folks in a video game battle royale, they’ll speak on panels and discuss shared wisdom between the rap hustle and the game developer hustle. Happening during AfroTech, it’s a way to “give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says its founder Charlese Banks. That’s on Saturday, Nov. 9, at Esports Arena in Oakland. \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Copyslut and Wizard Apprentice\u003c/strong>: This rock’n’roll quartet puts on a theatrical, campy live show, and musically they sound a little bit like Heart mixed with Sleater-Kinney; they also use their platform to advocate for sex workers. Joining them at this show is Wizard Apprentice, a singer who makes ultra-introspective bedroom pop that’s all about interrogating feelings of jealousy or inadequacy. Their live show is really unusual too—after performing a song, they disappear while a robotic-sounding avatar of them shares something vulnerable about the lyrics. Wizard Apprentice, Copyslut, Louda and Blacker Face perform on Tuesday, Nov. 12, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20191112.html#.XcRYD5JKjdQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sylvia Fein\u003c/strong>: When Sylvia Fein isn’t tending to her olive orchard in Martinez, she does what’s made her a nationally known artist: painting egg tempera paintings inspired by surrealism and magical realism. Born in Milwaukee, Fein lived in Mexico City for a while before ultimately settling in the Bay Area. In the 1940s, her work was shown alongside that of Max Ernst and Jackson Pollack at the Whitney Annual—and now, later this month, she’ll turn 100 years old. She’s still vibrant, and working, and will be in person for the opening of her solo show, \u003cem>Sylvia Fein/Matrix275\u003c/em>, on Wednesday, Nov. 13, at BAMPFA in Berkeley. The show runs through March of next year. \u003ca href=\"https://bampfa.org/program/sylvia-fein-matrix-275\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oaktown Jazz Workshops 25th Anniversary\u003c/strong>: Oaktown Jazz Workshops has been training Oakland’s finest young musicians since 1994, and the program has some impressive alumni, including trumpet player Ambrose Akinmusire and bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\" rel=\"noopener noreferrer\" target=\"_blank\">Aneesa Strings\u003c/a>. Some of its most stellar faculty, alumni, current students and friends perform together at Yoshi’s in Oakland on Nov. 12 to celebrate the organization’s 25th anniversary and raise money for its programming. Pianist and MC Kev Choice saxophonist Richard Howell and Latin jazz star percussionist John Santos are only a few musicians you can expect to see. \u003ca href=\"https://www.eventbrite.com/e/oaktown-jazz-workshops-25th-anniversary-celebration-tickets-66620635113\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Richard Thompson, Oaktown Jazz Workshops, Sylvia Fein and a chance to play video games with E-40 round out our critic's picks.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung, Pendarvis Harshaw and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Richard Thompson\u003c/strong>: We start our picks this week with a guy who only has 10 fingers—but plays guitar like he’s got 20. If you’ve never been to one of Richard Thompson’s shows, we can’t recommend it enough—he’s smart, funny, and a master storyteller with his between-song patter. “\u003ca href=\"https://www.youtube.com/watch?v=MOCZwKmjR6E\" rel=\"noopener noreferrer\" target=\"_blank\">1952 Black Vincent Lightning\u003c/a>” belongs in the Library of Congress as one of the all-time great love songs, and he even usually does a segment in his shows called “1,000 Years of Popular Music,” where he plays songs, yes, stretching back a thousand years. Richard Thompson plays Thursday, Nov. 7, at the Fillmore in San Francisco, and the next night, Nov. 8, at the Rio Theater in Santa Cruz. \u003ca href=\"https://www.richardthompson-music.com/tour-dates\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Immi/Tartine Pop-Up Dinner\u003c/strong>: This Sunday, local institution Tartine Manufactory teams up with a pop-up called \u003ca href=\"https://www.instagram.com/immi.sf/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Immi\u003c/a> (short for immigrant) for a special dinner collaboration. The founders of Immi bring foods they remember from their childhood to the table, with influences from their experience in professional kitchens like State Bird Provisions—they’ve done a rice pilaf dish, for example, that was inspired by a family recipe, but with a modern twist. At this next pop-up, based on hints from social media, it looks like scallion pancakes, long life noodles and Tartine country bread panzanella with an Immi stir fry are all hints of what’s to come. That’s Sunday, Nov. 10, at Tartine Manufactory. \u003ca href=\"https://www.opentable.com/s/?covers=2&dateTime=2019-11-10%2019%3A00&enableSimpleCuisines=true&includeTicketedAvailability=true&metroId=4&pageType=0&pinnedRids%5B0%5D=252190®ionIds=5&userlatitude=37.7795&userlongitude=-122.4195\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oakland Game Fest ’19\u003c/strong>: Have you ever wanted to test your gaming prowess against E-40? At Oakland Game Fest ’19, select attendees will get the change to play video games against a who’s-who of local stars, including E-40, Mistah FAB, Ryan Nicole, Just Blaze and more. In addition to squaring off against a bunch of young folks in a video game battle royale, they’ll speak on panels and discuss shared wisdom between the rap hustle and the game developer hustle. Happening during AfroTech, it’s a way to “give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says its founder Charlese Banks. That’s on Saturday, Nov. 9, at Esports Arena in Oakland. \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" rel=\"noopener noreferrer\" 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>Copyslut and Wizard Apprentice\u003c/strong>: This rock’n’roll quartet puts on a theatrical, campy live show, and musically they sound a little bit like Heart mixed with Sleater-Kinney; they also use their platform to advocate for sex workers. Joining them at this show is Wizard Apprentice, a singer who makes ultra-introspective bedroom pop that’s all about interrogating feelings of jealousy or inadequacy. Their live show is really unusual too—after performing a song, they disappear while a robotic-sounding avatar of them shares something vulnerable about the lyrics. Wizard Apprentice, Copyslut, Louda and Blacker Face perform on Tuesday, Nov. 12, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20191112.html#.XcRYD5JKjdQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sylvia Fein\u003c/strong>: When Sylvia Fein isn’t tending to her olive orchard in Martinez, she does what’s made her a nationally known artist: painting egg tempera paintings inspired by surrealism and magical realism. Born in Milwaukee, Fein lived in Mexico City for a while before ultimately settling in the Bay Area. In the 1940s, her work was shown alongside that of Max Ernst and Jackson Pollack at the Whitney Annual—and now, later this month, she’ll turn 100 years old. She’s still vibrant, and working, and will be in person for the opening of her solo show, \u003cem>Sylvia Fein/Matrix275\u003c/em>, on Wednesday, Nov. 13, at BAMPFA in Berkeley. The show runs through March of next year. \u003ca href=\"https://bampfa.org/program/sylvia-fein-matrix-275\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oaktown Jazz Workshops 25th Anniversary\u003c/strong>: Oaktown Jazz Workshops has been training Oakland’s finest young musicians since 1994, and the program has some impressive alumni, including trumpet player Ambrose Akinmusire and bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\" rel=\"noopener noreferrer\" target=\"_blank\">Aneesa Strings\u003c/a>. Some of its most stellar faculty, alumni, current students and friends perform together at Yoshi’s in Oakland on Nov. 12 to celebrate the organization’s 25th anniversary and raise money for its programming. Pianist and MC Kev Choice saxophonist Richard Howell and Latin jazz star percussionist John Santos are only a few musicians you can expect to see. \u003ca href=\"https://www.eventbrite.com/e/oaktown-jazz-workshops-25th-anniversary-celebration-tickets-66620635113\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BAMPFA Announces Major African American Quilts Acquisition, Related Exhibitions",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced Wednesday its acquisition of nearly 3,000 works by African American quilt makers, including more than 500 pieces by the acclaimed artist Rosie Lee Tompkins, from the late Oakland collector Eli Leon.\u003c/p>\n\u003cp>The Eli Leon Collection, believed to be the largest of its kind, comprises quilts as well as assemblage and embroidery by more than 400 black artists. Leon, who collected the works for decades and died in 2018, willed the collection to BAMPFA in what the museum called one of the largest bequests of African American art ever donated to a United States museum.\u003c/p>\n\u003cp>The collections forms the basis of a \u003ca href=\"https://bampfa.org/program/rosie-lee-tompkins-retrospective\" target=\"_blank\" rel=\"noopener\">major retrospective\u003c/a> opening Feb. 19, 2020 of some 80 quilts by Tompkins, an internationally renowned Richmond artist championed by Leon, including previously unseen pieces. Outgoing BAMPFA director Lawrence Rinder, who’s co-curating the retrospective with Elaine Yau, previously worked with Leon to show Tompkins’ work in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13868349\" class=\"wp-caption aligncenter\" style=\"max-width: 2184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868349 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg\" alt=\"Anonymous: 'Variations on a Theme,' c. 1940. Photo: Geoffry Johnson.\" width=\"2184\" height=\"2648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg 2184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-800x970.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-768x931.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1020x1237.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-990x1200.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1920x2328.jpg 1920w\" sizes=\"(max-width: 2184px) 100vw, 2184px\">\u003cfigcaption class=\"wp-caption-text\">Anonymous: ‘Variations on a Theme,’ c. 1940. Photo: Geoffry Johnson. \u003ccite>(Geoffry Johnson/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not often that a museum receives a gift that, in a single stroke, creates a new, defining institutional strength—which is precisely what Eli Leon has done by entrusting us with his unparalleled collection of African American quilts,” Rinder said in a statement, adding that the museum intends to “deepen public appreciation for … African American quiltmaking traditions.”\u003c/p>\n\u003cp>[aside postID='arts_10982977']\u003c/p>\n\u003cp>In 2022, BAMPFA will also mount an exhibition showcasing the broader collection, which includes pieces by some 400 artists such as Arbie Williams, Lawrence Brackens, Gladys Henry, Sherry Byrd and Angie Tobias. The museum is seeking grants to continue sorting the voluminous collection, which will be the subject of a scholarly catalog published by UC Press.\u003c/p>\n\u003cp>The acquisition continues a trend of museums racially diversifying their collections—San Francisco Museum of Modern Art recently used proceeds from the sale of a Mark Rothko painting to address gaps in its holdings—as well as taking seriously artforms previously dismissed as craft. Tompkins, in particular, is credited with raising the art world profile of quilting.\u003c/p>\n\u003cfigure id=\"attachment_13868350\" class=\"wp-caption aligncenter\" style=\"max-width: 2123px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868350 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg\" alt=\"Minnie Lee Metcalf: 'Grandmother’s Rose Garden,' 1989.\" width=\"2123\" height=\"2280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg 2123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-800x859.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-768x825.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1020x1095.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1117x1200.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1920x2062.jpg 1920w\" sizes=\"(max-width: 2123px) 100vw, 2123px\">\u003cfigcaption class=\"wp-caption-text\">Minnie Lee Metcalf: ‘Grandmother’s Rose Garden,’ 1989. \u003ccite>(Sharon Risedorph/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By selecting BAMPFA as the permanent home for his remarkable collection, Eli Leon has given UC Berkeley a magnificent gift that will advance our commitment to celebrating diverse voices and cultural traditions,” Carol Christ, University of California Berkeley chancellor, said in a statement.\u003c/p>\n\u003cp>Leon, an Oakland psychologist, first encountered Tompkins’ work at a flea market in 1985, spurring his decades-long interest as a scholar, collector and curator in the African American textile and quilts tradition. BAMPFA only learned of the bequest upon Leon’s death last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced Wednesday its acquisition of nearly 3,000 works by African American quilt makers, including more than 500 pieces by the acclaimed artist Rosie Lee Tompkins, from the late Oakland collector Eli Leon.\u003c/p>\n\u003cp>The Eli Leon Collection, believed to be the largest of its kind, comprises quilts as well as assemblage and embroidery by more than 400 black artists. Leon, who collected the works for decades and died in 2018, willed the collection to BAMPFA in what the museum called one of the largest bequests of African American art ever donated to a United States museum.\u003c/p>\n\u003cp>The collections forms the basis of a \u003ca href=\"https://bampfa.org/program/rosie-lee-tompkins-retrospective\" target=\"_blank\" rel=\"noopener\">major retrospective\u003c/a> opening Feb. 19, 2020 of some 80 quilts by Tompkins, an internationally renowned Richmond artist championed by Leon, including previously unseen pieces. Outgoing BAMPFA director Lawrence Rinder, who’s co-curating the retrospective with Elaine Yau, previously worked with Leon to show Tompkins’ work in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13868349\" class=\"wp-caption aligncenter\" style=\"max-width: 2184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868349 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg\" alt=\"Anonymous: 'Variations on a Theme,' c. 1940. Photo: Geoffry Johnson.\" width=\"2184\" height=\"2648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg 2184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-800x970.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-768x931.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1020x1237.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-990x1200.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1920x2328.jpg 1920w\" sizes=\"(max-width: 2184px) 100vw, 2184px\">\u003cfigcaption class=\"wp-caption-text\">Anonymous: ‘Variations on a Theme,’ c. 1940. Photo: Geoffry Johnson. \u003ccite>(Geoffry Johnson/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not often that a museum receives a gift that, in a single stroke, creates a new, defining institutional strength—which is precisely what Eli Leon has done by entrusting us with his unparalleled collection of African American quilts,” Rinder said in a statement, adding that the museum intends to “deepen public appreciation for … African American quiltmaking traditions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2022, BAMPFA will also mount an exhibition showcasing the broader collection, which includes pieces by some 400 artists such as Arbie Williams, Lawrence Brackens, Gladys Henry, Sherry Byrd and Angie Tobias. The museum is seeking grants to continue sorting the voluminous collection, which will be the subject of a scholarly catalog published by UC Press.\u003c/p>\n\u003cp>The acquisition continues a trend of museums racially diversifying their collections—San Francisco Museum of Modern Art recently used proceeds from the sale of a Mark Rothko painting to address gaps in its holdings—as well as taking seriously artforms previously dismissed as craft. Tompkins, in particular, is credited with raising the art world profile of quilting.\u003c/p>\n\u003cfigure id=\"attachment_13868350\" class=\"wp-caption aligncenter\" style=\"max-width: 2123px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868350 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg\" alt=\"Minnie Lee Metcalf: 'Grandmother’s Rose Garden,' 1989.\" width=\"2123\" height=\"2280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg 2123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-800x859.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-768x825.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1020x1095.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1117x1200.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1920x2062.jpg 1920w\" sizes=\"(max-width: 2123px) 100vw, 2123px\">\u003cfigcaption class=\"wp-caption-text\">Minnie Lee Metcalf: ‘Grandmother’s Rose Garden,’ 1989. \u003ccite>(Sharon Risedorph/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By selecting BAMPFA as the permanent home for his remarkable collection, Eli Leon has given UC Berkeley a magnificent gift that will advance our commitment to celebrating diverse voices and cultural traditions,” Carol Christ, University of California Berkeley chancellor, said in a statement.\u003c/p>\n\u003cp>Leon, an Oakland psychologist, first encountered Tompkins’ work at a flea market in 1985, spurring his decades-long interest as a scholar, collector and curator in the African American textile and quilts tradition. BAMPFA only learned of the bequest upon Leon’s death last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The UC Berkeley Art Museum and Pacific Film Archive announced today that director and chief curator Lawrence Rinder will leave the museum in March 2020. Rinder, who assumed the position in 2008, will continue to organize exhibitions at BAMPFA through the end of next year, and the museum will begin an immediate search for his successor.\u003c/p>\n\u003cp>Prior to this most recent role, Rinder worked at BAMPFA between 1988 and 1998 as a curator and assistant director for audience and programs. His other positions in the art world, on both coasts, include founding director of the CCA Wattis Institute for Contemporary Arts, curator of contemporary art at the Whitney Museum and dean of graduate studies and then dean of the college at California College of the Arts.\u003c/p>\n\u003cp>At BAMPFA, Rinder oversaw the institution’s move from its former building on Bancroft Way to the new Diller Scofidio + Renfro-designed expansion in downtown Berkeley, and curated the new space’s inaugural show, \u003ci>\u003ca href=\"https://www.kqed.org/arts/11283305/architecture-of-life-an-optimistic-start-for-new-bampfa\" rel=\"noopener\" target=\"_blank\">Architecture of Life\u003c/a>\u003c/i>. The move—and its proximity to the Downtown Berkeley BART station—connected the museum, its visual art and film programming to a growing audience. According to today’s announcement, BAMPFA attendance has doubled since its relocation. \u003c/p>\n\u003cp>Rinder also curated the two \u003ci>\u003ca href=\"https://www.kqed.org/arts/13819924/200-years-of-eclectic-bay-area-art-at-bampfa\" rel=\"noopener\" target=\"_blank\">Way Bay\u003c/a>\u003c/i> exhibitions, showcasing 200 years worth of Bay Area art, and an exhilarating number of recent acquisitions from contemporary artists. (The BAMPFA announcement notes that Rinder’s acquisition program has added over 6,000 works to the museum’s collection.) \u003c/p>\n\u003cp>By all reports, Rinder leaves the museum in good financial footing, ready for the next director’s vision: According to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bampfa-leader-lawrence-rinder-is-leaving-his-post-to-learn-from-nature\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>, Rinder secured a “significant gift from an anonymous donor” prior to the announcement of his departure, which he characterizes as “a runway for a new director.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The UC Berkeley Art Museum and Pacific Film Archive announced today that director and chief curator Lawrence Rinder will leave the museum in March 2020. Rinder, who assumed the position in 2008, will continue to organize exhibitions at BAMPFA through the end of next year, and the museum will begin an immediate search for his successor.\u003c/p>\n\u003cp>Prior to this most recent role, Rinder worked at BAMPFA between 1988 and 1998 as a curator and assistant director for audience and programs. His other positions in the art world, on both coasts, include founding director of the CCA Wattis Institute for Contemporary Arts, curator of contemporary art at the Whitney Museum and dean of graduate studies and then dean of the college at California College of the Arts.\u003c/p>\n\u003cp>At BAMPFA, Rinder oversaw the institution’s move from its former building on Bancroft Way to the new Diller Scofidio + Renfro-designed expansion in downtown Berkeley, and curated the new space’s inaugural show, \u003ci>\u003ca href=\"https://www.kqed.org/arts/11283305/architecture-of-life-an-optimistic-start-for-new-bampfa\" rel=\"noopener\" target=\"_blank\">Architecture of Life\u003c/a>\u003c/i>. The move—and its proximity to the Downtown Berkeley BART station—connected the museum, its visual art and film programming to a growing audience. According to today’s announcement, BAMPFA attendance has doubled since its relocation. \u003c/p>\n\u003cp>Rinder also curated the two \u003ci>\u003ca href=\"https://www.kqed.org/arts/13819924/200-years-of-eclectic-bay-area-art-at-bampfa\" rel=\"noopener\" target=\"_blank\">Way Bay\u003c/a>\u003c/i> exhibitions, showcasing 200 years worth of Bay Area art, and an exhilarating number of recent acquisitions from contemporary artists. (The BAMPFA announcement notes that Rinder’s acquisition program has added over 6,000 works to the museum’s collection.) \u003c/p>\n\u003cp>By all reports, Rinder leaves the museum in good financial footing, ready for the next director’s vision: According to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bampfa-leader-lawrence-rinder-is-leaving-his-post-to-learn-from-nature\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>, Rinder secured a “significant gift from an anonymous donor” prior to the announcement of his departure, which he characterizes as “a runway for a new director.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Alliance Metals, a recycling center in the Dogtown neighborhood of West Oakland, collected bottles and cans from hundreds of walk-up clients daily, providing meager but steady sums to the homeless and poor, until the City of Oakland strongarmed the business to close in 2016. \u003c/p>\n\u003cp>Amir Soltani’s 2015 documentary \u003cem>Dogtown Redemption\u003c/em> offered a sympathetic portrait of recyclers orbiting Alliance including the methodical Jason Witt, former minister Landon Goodwin and former underground musician Hayok Kay (who suffered a fatal assault after production). It also covered tension between recyclers and other West Oakland residents whose complaints of Alliance encouraging blight and petty crime led to its closure soon after the feature’s release. \u003c/p>\n\u003cp>The documentary—screening Sunday, Sept. 22 at the Berkeley Art Museum and Pacific Film Archive as a part of a \u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\">fall program\u003c/a> spotlighting the Berkeley Film Foundation—remains a stirring, emotionally textured picture of poverty amid gentrification. After five years, it’s also a reminder of how little punitive measures pursued against recyclers did to alleviate homelessness and its symptoms in West Oakland, which have only grown more pronounced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n",
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"title": "Now Playing! Outdoor ‘Music’ Launches BAMPFA’s Berkeley Film Foundation Salute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\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>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At BAMPFA, 'The San Quentin Project' Rewrites the History of Prison Imagery",
"headTitle": "At BAMPFA, ‘The San Quentin Project’ Rewrites the History of Prison Imagery | KQED",
"content": "\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" 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/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\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>\u003c/p>\n\u003cp>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Artist Nigel Poor presents photographs from the prison's archive annotated by her incarcerated students, dissecting the imagery of official narratives.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" 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/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\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>\u003c/p>\n\u003cp>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Abbas Kiarostami’s Genius of the Everyday",
"headTitle": "Now Playing! Abbas Kiarostami’s Genius of the Everyday | KQED",
"content": "\u003cp>Cinema, more than the other arts, has been coopted for the purpose of entertainment. Given the costs of producing movies, it was inevitable from the beginning. (Crowd-pleasing fare is the time-tested way studios procure profits and investors recoup repayment.) Is it kind of ridiculous to raise a finger in protest against middlebrow movies at this point in the summer? Guilty as charged.\u003c/p>\n\u003cp>Still, can we talk about the nobler goals that movies can aspire to? Can I use words like “profound” and “philosophical” and “sublime” and “uncompromising?” Can we reconnect with the understated genius of the late filmmaker Abbas Kiarostami?\u003c/p>\n\u003cp>The Iranian director, who honed his singular technique of blending realty and fiction in an array of shorts and documentaries in the 1970s and ’80s, earned his first recognition in the West in 1987 with \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/tribute-to-abbas-kiarostami-where-is-the-friends-house/?instance_id=35294\" rel=\"noopener\" target=\"_blank\">Where is the Friend’s House?\u003c/a>\u003c/em> (Saturday, Aug. 17 at the Roxie). This seemingly simple road movie set in northern Iran patiently tracks a boy’s moral endeavor—returning a notebook to a classmate—with Kiarostami’s unique blend of clear-eyed unsentimentality, unwavering empathy and bits of stray humor.\u003c/p>\n\u003cfigure id=\"attachment_13863867\" 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/Kiarostami_And-Life-Goes-On_005_1200.jpg\" alt=\"Still from 'And Life Goes On...' 1992.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘And Life Goes On…’ 1992. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a monumentally devastating earthquake killed thousands of people in the region in 1990, Kiarsotami returned to shoot \u003cem>\u003ca href=\"https://bampfa.org/event/and-life-goes-on\" rel=\"noopener\" target=\"_blank\">And Life Goes On…\u003c/a>\u003c/em> (Saturday, Aug. 17 and Friday, Sept. 20 at BAMPFA). Remarkably, and tellingly, the director devised a life-affirming saga out of the destruction and rubble. At the same time, this great artist transformed the tenets of neorealism and the signposts of nonprofessional performance into a subtextual commentary on filmmaking and storytelling.\u003c/p>\n\u003cp>While the \u003ca href=\"https://www.roxie.com/tribute-to-abbas-kiarostami/\" target=\"_blank\" rel=\"noopener\">Roxie’s mini-salute\u003c/a> concludes Aug. 17, the major BAMPFA retrospective \u003ca href=\"https://bampfa.org/program/abbas-kiarostami-life-as-art\" target=\"_blank\" rel=\"noopener\">Abbas Kiarostami: Life as Art\u003c/a>, rolls through Dec. 21. By any means necessary, grab the opportunity to discover or revisit a director whose every work was and is a tonic for the soul.\u003c/p>\n\u003cfigure id=\"attachment_13863868\" 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/Kiarostami_Close-Up_001_1200.jpg\" alt=\"Still from 'Close-Up,' 1990.\" width=\"1200\" height=\"845\" class=\"size-full wp-image-13863868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-1020x718.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Close-Up,’ 1990. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other film on view this week, 1990’s \u003cem>\u003ca href=\"https://bampfa.org/event/close-up\" rel=\"noopener\" target=\"_blank\">Close-Up\u003c/a>\u003c/em> (Sunday, Aug. 18 and Saturday, Aug. 19), foregrounds the way people see movies—and see themselves as the stars of the movie of their life—by documenting the bizarre trial \u003cem>and reenacting the original actions\u003c/em> of a man who impersonated Iranian filmmaker Mohsen Makhmalbaf.\u003c/p>\n\u003cp>Abbas Kiarostami was one of a small handful of astutely humanist filmmakers in the history of movies. He was also a multifaceted artist who, for all the acclaim he received in his life, remains underrated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cinema, more than the other arts, has been coopted for the purpose of entertainment. Given the costs of producing movies, it was inevitable from the beginning. (Crowd-pleasing fare is the time-tested way studios procure profits and investors recoup repayment.) Is it kind of ridiculous to raise a finger in protest against middlebrow movies at this point in the summer? Guilty as charged.\u003c/p>\n\u003cp>Still, can we talk about the nobler goals that movies can aspire to? Can I use words like “profound” and “philosophical” and “sublime” and “uncompromising?” Can we reconnect with the understated genius of the late filmmaker Abbas Kiarostami?\u003c/p>\n\u003cp>The Iranian director, who honed his singular technique of blending realty and fiction in an array of shorts and documentaries in the 1970s and ’80s, earned his first recognition in the West in 1987 with \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/tribute-to-abbas-kiarostami-where-is-the-friends-house/?instance_id=35294\" rel=\"noopener\" target=\"_blank\">Where is the Friend’s House?\u003c/a>\u003c/em> (Saturday, Aug. 17 at the Roxie). This seemingly simple road movie set in northern Iran patiently tracks a boy’s moral endeavor—returning a notebook to a classmate—with Kiarostami’s unique blend of clear-eyed unsentimentality, unwavering empathy and bits of stray humor.\u003c/p>\n\u003cfigure id=\"attachment_13863867\" 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/Kiarostami_And-Life-Goes-On_005_1200.jpg\" alt=\"Still from 'And Life Goes On...' 1992.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘And Life Goes On…’ 1992. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a monumentally devastating earthquake killed thousands of people in the region in 1990, Kiarsotami returned to shoot \u003cem>\u003ca href=\"https://bampfa.org/event/and-life-goes-on\" rel=\"noopener\" target=\"_blank\">And Life Goes On…\u003c/a>\u003c/em> (Saturday, Aug. 17 and Friday, Sept. 20 at BAMPFA). Remarkably, and tellingly, the director devised a life-affirming saga out of the destruction and rubble. At the same time, this great artist transformed the tenets of neorealism and the signposts of nonprofessional performance into a subtextual commentary on filmmaking and storytelling.\u003c/p>\n\u003cp>While the \u003ca href=\"https://www.roxie.com/tribute-to-abbas-kiarostami/\" target=\"_blank\" rel=\"noopener\">Roxie’s mini-salute\u003c/a> concludes Aug. 17, the major BAMPFA retrospective \u003ca href=\"https://bampfa.org/program/abbas-kiarostami-life-as-art\" target=\"_blank\" rel=\"noopener\">Abbas Kiarostami: Life as Art\u003c/a>, rolls through Dec. 21. By any means necessary, grab the opportunity to discover or revisit a director whose every work was and is a tonic for the soul.\u003c/p>\n\u003cfigure id=\"attachment_13863868\" 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/Kiarostami_Close-Up_001_1200.jpg\" alt=\"Still from 'Close-Up,' 1990.\" width=\"1200\" height=\"845\" class=\"size-full wp-image-13863868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-1020x718.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Close-Up,’ 1990. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other film on view this week, 1990’s \u003cem>\u003ca href=\"https://bampfa.org/event/close-up\" rel=\"noopener\" target=\"_blank\">Close-Up\u003c/a>\u003c/em> (Sunday, Aug. 18 and Saturday, Aug. 19), foregrounds the way people see movies—and see themselves as the stars of the movie of their life—by documenting the bizarre trial \u003cem>and reenacting the original actions\u003c/em> of a man who impersonated Iranian filmmaker Mohsen Makhmalbaf.\u003c/p>\n\u003cp>Abbas Kiarostami was one of a small handful of astutely humanist filmmakers in the history of movies. He was also a multifaceted artist who, for all the acclaim he received in his life, remains underrated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jean-Pierre Léaud is far from the greatest actor of his generation, but nobody better embodied the frustrated yearnings and underlying alienation of postmodern life. Even when he was playing an ostensibly romantic lead, earnestly bumbling his way through life, Leaud conveyed the fundamental aloneness of the journey. Over the long course of his career, Leaud’s characters reflected and represented the idealism of youth—the hopes of the ’60s, specifically—bent and bruised by bourgeois pressures and compromises.\u003c/p>\n\u003cp>The BAMPFA retrospective, \u003ca href=\"https://bampfa.org/program/jean-pierre-leaud-75\" rel=\"noopener\" target=\"_blank\">Jean-Pierre Léaud at 75\u003c/a>, begins Thursday, July 4 with (of course) the French actor’s breakout performance as the miserable, film-struck adolescent at the center of François Truffaut’s autobiographical feature debut, \u003cem>\u003ca href=\"https://bampfa.org/event/400-blows\" rel=\"noopener\" target=\"_blank\">The 400 Blows\u003c/a>\u003c/em> (1959). A raw 15-year-old at the time, Léaud succinctly conveyed Antoine Doinel’s anger-fueled rebelliousness but also his hunger for cultural escape.\u003c/p>\n\u003cfigure id=\"attachment_13860570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg\" alt=\"Still from François Truffaut's 'The 400 Blows,' 1959.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13860570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from François Truffaut’s ‘The 400 Blows,’ 1959. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The 400 Blows\u003c/em> was a thunderclap heralding the artistic and commercial promise of the French New Wave (it hit ten months before Jean-Luc Godard’s \u003cem>Breathless\u003c/em>). Miraculously, its location shots and naturalistic acting remain as fresh and affecting as ever. One of the film’s unacknowledged legacies, however, is the subgenre of coming-of-age films in which the protagonist grows up to be an artist. (Alfonso Cuarón wisely resisted the urge to make the implicit explicit in \u003cem>Roma\u003c/em>, so his autobiographical saga doesn’t make the list.)\u003c/p>\n\u003cp>Léaud will forever be associated with Truffaut, thanks to the touching Antoine Doinel films they made between 1968 and 1979. But Leaud made great movies with other directors, including Godard (Lennon to Truffaut’s McCartney). \u003cem>\u003ca href=\"https://bampfa.org/event/masculine-feminine\" rel=\"noopener\" target=\"_blank\">Masculine Feminine\u003c/a>\u003c/em> (1966), screening Saturday, July 6, is a wedge of highbrow/lowbrow fun in which Godard orchestrates collisions between drama and melodrama, banality and profundity.\u003c/p>\n\u003cp>Jean-Pierre Léaud is game for all of it, showing off his ability to ride the waves of any auteur’s vision while maintaining his peculiar persona. In \u003cem>Masculine Feminine\u003c/em>, and throughout his unexpected career, Léaud is both mannered and spontaneous, sincere and self-obsessed, puppy-dog vulnerable and Rottweiler-cruel. Finally, at 75, he’s all grown up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Pierre Léaud is far from the greatest actor of his generation, but nobody better embodied the frustrated yearnings and underlying alienation of postmodern life. Even when he was playing an ostensibly romantic lead, earnestly bumbling his way through life, Leaud conveyed the fundamental aloneness of the journey. Over the long course of his career, Leaud’s characters reflected and represented the idealism of youth—the hopes of the ’60s, specifically—bent and bruised by bourgeois pressures and compromises.\u003c/p>\n\u003cp>The BAMPFA retrospective, \u003ca href=\"https://bampfa.org/program/jean-pierre-leaud-75\" rel=\"noopener\" target=\"_blank\">Jean-Pierre Léaud at 75\u003c/a>, begins Thursday, July 4 with (of course) the French actor’s breakout performance as the miserable, film-struck adolescent at the center of François Truffaut’s autobiographical feature debut, \u003cem>\u003ca href=\"https://bampfa.org/event/400-blows\" rel=\"noopener\" target=\"_blank\">The 400 Blows\u003c/a>\u003c/em> (1959). A raw 15-year-old at the time, Léaud succinctly conveyed Antoine Doinel’s anger-fueled rebelliousness but also his hunger for cultural escape.\u003c/p>\n\u003cfigure id=\"attachment_13860570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg\" alt=\"Still from François Truffaut's 'The 400 Blows,' 1959.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13860570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from François Truffaut’s ‘The 400 Blows,’ 1959. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The 400 Blows\u003c/em> was a thunderclap heralding the artistic and commercial promise of the French New Wave (it hit ten months before Jean-Luc Godard’s \u003cem>Breathless\u003c/em>). Miraculously, its location shots and naturalistic acting remain as fresh and affecting as ever. One of the film’s unacknowledged legacies, however, is the subgenre of coming-of-age films in which the protagonist grows up to be an artist. (Alfonso Cuarón wisely resisted the urge to make the implicit explicit in \u003cem>Roma\u003c/em>, so his autobiographical saga doesn’t make the list.)\u003c/p>\n\u003cp>Léaud will forever be associated with Truffaut, thanks to the touching Antoine Doinel films they made between 1968 and 1979. But Leaud made great movies with other directors, including Godard (Lennon to Truffaut’s McCartney). \u003cem>\u003ca href=\"https://bampfa.org/event/masculine-feminine\" rel=\"noopener\" target=\"_blank\">Masculine Feminine\u003c/a>\u003c/em> (1966), screening Saturday, July 6, is a wedge of highbrow/lowbrow fun in which Godard orchestrates collisions between drama and melodrama, banality and profundity.\u003c/p>\n\u003cp>Jean-Pierre Léaud is game for all of it, showing off his ability to ride the waves of any auteur’s vision while maintaining his peculiar persona. In \u003cem>Masculine Feminine\u003c/em>, and throughout his unexpected career, Léaud is both mannered and spontaneous, sincere and self-obsessed, puppy-dog vulnerable and Rottweiler-cruel. Finally, at 75, he’s all grown up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
