Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit
The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements
Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years
Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World
A Deeper Look at Jim Henson, the Man Behind the Muppets, and His Unbridled Innovations
Contemporary Jewish Museum Announces Inaugural Artists in Residence
Daria Martin Films Her Grandmother's Dreams
Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why
At the CJM, 20 Years of Annabeth Rosen's Earthen Humor
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The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. [aside postid='arts_13952460,arts_13954119']\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The selected artists then sent museum leadership a list of demands that included a call to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\n","blocks":[],"excerpt":"The artists called for the museum to join the Palestinian Academic and Cultural Boycott of Israel, which leadership refused. ","status":"publish","parent":0,"modified":1713557381,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1215},"headData":{"title":"Pro-Palestinian Artists Pull Out of Contemporary Jewish Museum | KQED","description":"The artists called for the museum to join the Palestinian Academic and Cultural Boycott of Israel, which leadership refused. ","ogTitle":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit","ogDescription":"","ogImgId":"","twTitle":"Pro-Palestinian Jewish Artists Pull Out of Contemporary Jewish Museum","twDescription":"","twImgId":"","socialTitle":"Pro-Palestinian Artists Pull Out of Contemporary Jewish Museum %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pro-Palestinian Jewish Artists Withdraw from Contemporary Jewish Museum Exhibit","datePublished":"2024-04-09T00:31:22.000Z","dateModified":"2024-04-19T20:09:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/e7ab8198-9bf5-4e33-a279-b15301022e24/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The selected artists then sent museum leadership a list of demands that included a call to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_1787","arts_10342","arts_10278","arts_8838","arts_1146"],"featImg":"arts_13955612","label":"arts"},"arts_13951260":{"type":"posts","id":"arts_13951260","meta":{"index":"posts_1591205157","site":"arts","id":"13951260","score":null,"sort":[1706658960000]},"guestAuthors":[],"slug":"cjm-first-light-she-bends-neon-art","title":"The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements","publishDate":1706658960,"format":"standard","headTitle":"The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Neon art is elemental (in the periodic table kind of way). Sure, plenty of sculpture is made out of gold, silver, copper or iron, but these are all fairly run-of-the-mill metals. They behave in fairly run-of-the-mill ways.\u003c/p>\n\u003cp>But put an electric charge into a tube of helium, argon, neon or krypton, and seemingly magical things happen. All of those zaps and sizzles can be explained by science, but the gasses will also behave as they see fit — and therein lies one aspect of the medium’s artistic appeal.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, the organization \u003ca href=\"https://www.shebends.com/\">She Bends\u003c/a> has curated a group show of neon, glass, plasma and installation work for \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>, on view through April 28. It’s an exhibition that not only challenges commercial uses of neon but the traditionally masculine world of its making. And while the nine artists included in \u003ci>First Light\u003c/i> approach glass and neon in vastly different ways, they share an openness and enthusiasm about their processes, turning this humming, glowing assembly of works into a uniquely welcoming art show.\u003c/p>\n\u003cfigure id=\"attachment_13951304\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg\" alt=\"Wide table covered in tubes, papers, a notbook and tools, pipes and knobs attached to side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of the bending table in ‘First Light.’ \u003ccite>(Henrik Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, we don’t get simply their artwork, but two displays demonstrating just how neon gets made. At the first one, a lightly scorched bending table scattered with paper patterns shows how straight tubes become three-dimensional objects through precise heating and careful pressure. In the final galleries, we see a mock-up of a bombarding table, complete with the valves, tubes and gauges used to heat impurities out of a glass tube, create a vacuum, pump in noble gas and electrify it.\u003c/p>\n\u003cp>Easy, right? It is eminently clear from the outset of \u003ci>First Light\u003c/i> that this is a persnickety and highly technical art form. And yet most of the artists in the show push well beyond the already-complicated norm, both expanding and deconstructing our idea of neon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the expansive side, take \u003ca href=\"https://aan-g.com/\">Angelina Almukhametova\u003c/a>’s \u003ci>Rhizome Intermezzo No. 20\u003c/i>, a multimedia collaboration with Dan Disciglio. Bright white beads of krypton run through clear glass tubes shaped to echo the missing branches and roots of an attached tree stump. A sound element uses the wood’s resonance and converts the electromagnetic pulses of the transformers (which power the neon) into a cyclical buzz and hum.\u003c/p>\n\u003cfigure id=\"attachment_13951278\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg\" alt=\"Lit neon tube rests on carved salt and blown clear glass\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13951278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mollie McKinley, ‘Sunrise Over Resting Body,’ 2022. \u003ccite>(Courtesy of the Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or look to \u003ca href=\"http://kamilamroz.pl/?v=7516fd43adaa\">Kamila Mróz\u003c/a>’s sculptures, which allow the electrons inside a more freeform path. In her impossibly delicate “crown” of glass, thrilling forks of light bounce in and out of the crown’s leaves, lending an eerie aliveness to her work. (Picture a grown-up, extremely sophisticated plasma ball, but no touching, please.)\u003c/p>\n\u003cp>Mroz’s pieces are made from flameworked borosilicate, which \u003ca href=\"https://www.merylpataky.com/\">Meryl Pataky\u003c/a> (the founder of She Bends) also uses in a series of sculptural candle holders. These are some of the most ethereal and otherworldly works in the show — with the noble gasses less constrained by a standardized tube, they retain some of their (for lack of a better word) gassiness. It’s in these moments that the truly out-there science of it all hits hardest.\u003c/p>\n\u003cp>Driving this point home is \u003ca href=\"https://www.kacielees.com/\">Kacie Lees\u003c/a>’ work, which distills neon down to those aforementioned elements. In two wall installations activated by the audience, she nods to the cosmic origins of the materials neon artists use. In \u003ci>The Deep Field\u003c/i>, a black-flocked wall displays Webb’s First Deep Field image, inviting museum visitors to inscribe their own responses with colored pencil onto this origin story of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13951279\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg\" alt=\"Circular neon wall piece with six-pointed star pattern, yellow, pink and red symbols\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky, ‘Invocation Through Fabrication,’ 2018. \u003ccite>(Photo by Brock Brake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Vivid Unseen\u003c/i>, Lees has blended phosphor powder into paint, creating a dazzling large-scale mural that’s only visible in small doses, with the help of a handheld UV flashlight. Passing the flashlight over the mural, fluorescent colors and splashes explode across the surface of an otherwise white wall. The experience is one part Lascaux cave paintings, one part CSI.\u003c/p>\n\u003cp>She Bends and the Contemporary Jewish Museum have executed an impressive feat with \u003ci>First Light\u003c/i>: it’s an educational show that isn’t dull or overwhelming. Instead, it presents wholly inventive combinations of media. And most importantly, it opens up avenues of delight and wonder. I doubt visitors will look up at neon — or the stars — in the same way ever again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>,’ on view at the Contemporary Jewish Museum through April 28, 2024.\u003c/p>\n\n","blocks":[],"excerpt":"A group show organized by She Bends expands and deconstructs notions of neon and glass art. ","status":"publish","parent":0,"modified":1706729319,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":795},"headData":{"title":"‘First Light’ Review: A Celebration of Cosmic Elements at CJM | KQED Arts","description":"A group show organized by She Bends expands and deconstructs notions of neon and glass art. ","ogTitle":"The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements","ogDescription":"","ogImgId":"","twTitle":"The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements","twDescription":"","twImgId":"","socialTitle":"‘First Light’ Review: A Celebration of Cosmic Elements at CJM %%page%% %%sep%% %%sitename%%","schema":{"@context":"http://schema.org","@type":"Article","headline":"The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements","datePublished":"2024-01-30T23:56:00.000Z","dateModified":"2024-01-31T19:28:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951260/cjm-first-light-she-bends-neon-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neon art is elemental (in the periodic table kind of way). Sure, plenty of sculpture is made out of gold, silver, copper or iron, but these are all fairly run-of-the-mill metals. They behave in fairly run-of-the-mill ways.\u003c/p>\n\u003cp>But put an electric charge into a tube of helium, argon, neon or krypton, and seemingly magical things happen. All of those zaps and sizzles can be explained by science, but the gasses will also behave as they see fit — and therein lies one aspect of the medium’s artistic appeal.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, the organization \u003ca href=\"https://www.shebends.com/\">She Bends\u003c/a> has curated a group show of neon, glass, plasma and installation work for \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>, on view through April 28. It’s an exhibition that not only challenges commercial uses of neon but the traditionally masculine world of its making. And while the nine artists included in \u003ci>First Light\u003c/i> approach glass and neon in vastly different ways, they share an openness and enthusiasm about their processes, turning this humming, glowing assembly of works into a uniquely welcoming art show.\u003c/p>\n\u003cfigure id=\"attachment_13951304\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg\" alt=\"Wide table covered in tubes, papers, a notbook and tools, pipes and knobs attached to side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of the bending table in ‘First Light.’ \u003ccite>(Henrik Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, we don’t get simply their artwork, but two displays demonstrating just how neon gets made. At the first one, a lightly scorched bending table scattered with paper patterns shows how straight tubes become three-dimensional objects through precise heating and careful pressure. In the final galleries, we see a mock-up of a bombarding table, complete with the valves, tubes and gauges used to heat impurities out of a glass tube, create a vacuum, pump in noble gas and electrify it.\u003c/p>\n\u003cp>Easy, right? It is eminently clear from the outset of \u003ci>First Light\u003c/i> that this is a persnickety and highly technical art form. And yet most of the artists in the show push well beyond the already-complicated norm, both expanding and deconstructing our idea of neon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the expansive side, take \u003ca href=\"https://aan-g.com/\">Angelina Almukhametova\u003c/a>’s \u003ci>Rhizome Intermezzo No. 20\u003c/i>, a multimedia collaboration with Dan Disciglio. Bright white beads of krypton run through clear glass tubes shaped to echo the missing branches and roots of an attached tree stump. A sound element uses the wood’s resonance and converts the electromagnetic pulses of the transformers (which power the neon) into a cyclical buzz and hum.\u003c/p>\n\u003cfigure id=\"attachment_13951278\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg\" alt=\"Lit neon tube rests on carved salt and blown clear glass\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13951278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mollie McKinley, ‘Sunrise Over Resting Body,’ 2022. \u003ccite>(Courtesy of the Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or look to \u003ca href=\"http://kamilamroz.pl/?v=7516fd43adaa\">Kamila Mróz\u003c/a>’s sculptures, which allow the electrons inside a more freeform path. In her impossibly delicate “crown” of glass, thrilling forks of light bounce in and out of the crown’s leaves, lending an eerie aliveness to her work. (Picture a grown-up, extremely sophisticated plasma ball, but no touching, please.)\u003c/p>\n\u003cp>Mroz’s pieces are made from flameworked borosilicate, which \u003ca href=\"https://www.merylpataky.com/\">Meryl Pataky\u003c/a> (the founder of She Bends) also uses in a series of sculptural candle holders. These are some of the most ethereal and otherworldly works in the show — with the noble gasses less constrained by a standardized tube, they retain some of their (for lack of a better word) gassiness. It’s in these moments that the truly out-there science of it all hits hardest.\u003c/p>\n\u003cp>Driving this point home is \u003ca href=\"https://www.kacielees.com/\">Kacie Lees\u003c/a>’ work, which distills neon down to those aforementioned elements. In two wall installations activated by the audience, she nods to the cosmic origins of the materials neon artists use. In \u003ci>The Deep Field\u003c/i>, a black-flocked wall displays Webb’s First Deep Field image, inviting museum visitors to inscribe their own responses with colored pencil onto this origin story of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13951279\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg\" alt=\"Circular neon wall piece with six-pointed star pattern, yellow, pink and red symbols\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky, ‘Invocation Through Fabrication,’ 2018. \u003ccite>(Photo by Brock Brake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Vivid Unseen\u003c/i>, Lees has blended phosphor powder into paint, creating a dazzling large-scale mural that’s only visible in small doses, with the help of a handheld UV flashlight. Passing the flashlight over the mural, fluorescent colors and splashes explode across the surface of an otherwise white wall. The experience is one part Lascaux cave paintings, one part CSI.\u003c/p>\n\u003cp>She Bends and the Contemporary Jewish Museum have executed an impressive feat with \u003ci>First Light\u003c/i>: it’s an educational show that isn’t dull or overwhelming. Instead, it presents wholly inventive combinations of media. And most importantly, it opens up avenues of delight and wonder. I doubt visitors will look up at neon — or the stars — in the same way ever again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>,’ on view at the Contemporary Jewish Museum through April 28, 2024.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951260/cjm-first-light-she-bends-neon-art","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1787","arts_769","arts_585"],"featImg":"arts_13951277","label":"arts_140"},"arts_13930607":{"type":"posts","id":"arts_13930607","meta":{"index":"posts_1591205157","site":"arts","id":"13930607","score":null,"sort":[1686871964000]},"guestAuthors":[],"slug":"contemporary-jewish-museum-executive-director-chad-coerver-step-down","title":"Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years","publishDate":1686871964,"format":"standard","headTitle":"Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Contemporary Jewish Museum announced Executive Director Chad Coerver will step down from his role in mid-August after less than two years at the museum. Coerver \u003ca href=\"https://www.thecjm.org/pages/319\">joined the CJM in September 2021\u003c/a> from the San Francisco Museum of Modern Art, where he worked for 20 years, most recently as the chief education and community engagement officer. \u003c/p>\n\u003cp>[aside postID='arts_13930462']Coerver’s tenure at the CJM began after the prolonged closure of the winter 2020–2021 season, when a rise in COVID-19 numbers re-shuttered most Bay Area cultural institutions. He succeeded Lori Starr in the role, who led the museum for over seven years and departed at the end of 2020. \u003c/p>\n\u003cp>Since Coerver assumed leadership, the museum has put on several exhibitions by contemporary Jewish artists, including its current \u003ca href=\"https://www.kqed.org/arts/13930462/mika-rottenberg-spaghetti-blockchain-contemporary-jewish-museum-review\">Mika Rottenberg exhibiton\u003c/a>, \u003cem>\u003ca href=\"https://www.thecjm.org/exhibitions/161\">Gillian Laub: Family Matters\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.thecjm.org/exhibitions/194\">Cara Levine: To Survive I Need you to Survive\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Kerry King, the CJM’s chief operating officer, will assume the role of interim executive director following Coerver’s departure and lead the search for his replacement. \u003c/p>\n\u003cp>“While we are sad to see Chad depart The CJM, we are thankful to him for the impact he has had on the museum during his tenure here,” King says in the museum’s press release. “Chad played a pivotal role in helping the museum move forward in the wake of the pandemic, and building a forward-thinking, collaborative culture among leadership and staff that we will carry with us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Coerver leaves the museum to serve as president of \u003ca href=\"https://www.workingassumptions.org/\">Working Assumptions\u003c/a>, a Berkeley-based organization that challenges depictions of work, family and caregiving through art and education programs. One of the organization’s projects involved putting photographers in the workplace with visibly pregnant people to \u003ca href=\"https://www.showingpregnancy.org/\">document their working days\u003c/a> — and fill a gap in the visual culture. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In today’s announcement, Coerver said, “While it is bittersweet to leave the museum after two years, Working Assumptions aligns with areas I’ve been focused on my entire career and offers an opportunity I could not pass up. I am looking forward to helping shape that organization and engaging directly with social issues that resonate deeply with me.”\u003c/p>\n\n","blocks":[],"excerpt":"Chad Coerver, who joined the CJM from SFMOMA, is leaving the museum in mid-August.","status":"publish","parent":0,"modified":1705005367,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":378},"headData":{"title":"Contemporary Jewish Museum Executive Director to Step Down | KQED","description":"Chad Coerver, who joined the CJM from SFMOMA, is leaving the museum in mid-August.","ogTitle":"Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years","ogDescription":"","ogImgId":"","twTitle":"Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years","twDescription":"","twImgId":"","socialTitle":"Contemporary Jewish Museum Executive Director to Step Down %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Executive Director of Contemporary Jewish Museum Steps Down After Less than Two Years","datePublished":"2023-06-15T23:32:44.000Z","dateModified":"2024-01-11T20:36:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Contemporary Jewish Museum announced Executive Director Chad Coerver will step down from his role in mid-August after less than two years at the museum. Coerver \u003ca href=\"https://www.thecjm.org/pages/319\">joined the CJM in September 2021\u003c/a> from the San Francisco Museum of Modern Art, where he worked for 20 years, most recently as the chief education and community engagement officer. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930462","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Coerver’s tenure at the CJM began after the prolonged closure of the winter 2020–2021 season, when a rise in COVID-19 numbers re-shuttered most Bay Area cultural institutions. He succeeded Lori Starr in the role, who led the museum for over seven years and departed at the end of 2020. \u003c/p>\n\u003cp>Since Coerver assumed leadership, the museum has put on several exhibitions by contemporary Jewish artists, including its current \u003ca href=\"https://www.kqed.org/arts/13930462/mika-rottenberg-spaghetti-blockchain-contemporary-jewish-museum-review\">Mika Rottenberg exhibiton\u003c/a>, \u003cem>\u003ca href=\"https://www.thecjm.org/exhibitions/161\">Gillian Laub: Family Matters\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.thecjm.org/exhibitions/194\">Cara Levine: To Survive I Need you to Survive\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Kerry King, the CJM’s chief operating officer, will assume the role of interim executive director following Coerver’s departure and lead the search for his replacement. \u003c/p>\n\u003cp>“While we are sad to see Chad depart The CJM, we are thankful to him for the impact he has had on the museum during his tenure here,” King says in the museum’s press release. “Chad played a pivotal role in helping the museum move forward in the wake of the pandemic, and building a forward-thinking, collaborative culture among leadership and staff that we will carry with us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coerver leaves the museum to serve as president of \u003ca href=\"https://www.workingassumptions.org/\">Working Assumptions\u003c/a>, a Berkeley-based organization that challenges depictions of work, family and caregiving through art and education programs. One of the organization’s projects involved putting photographers in the workplace with visibly pregnant people to \u003ca href=\"https://www.showingpregnancy.org/\">document their working days\u003c/a> — and fill a gap in the visual culture. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In today’s announcement, Coerver said, “While it is bittersweet to leave the museum after two years, Working Assumptions aligns with areas I’ve been focused on my entire career and offers an opportunity I could not pass up. I am looking forward to helping shape that organization and engaging directly with social issues that resonate deeply with me.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_1787"],"featImg":"arts_13930613","label":"arts"},"arts_13930462":{"type":"posts","id":"arts_13930462","meta":{"index":"posts_1591205157","site":"arts","id":"13930462","score":null,"sort":[1686766265000]},"guestAuthors":[],"slug":"mika-rottenberg-spaghetti-blockchain-contemporary-jewish-museum-review","title":"Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World","publishDate":1686766265,"format":"standard","headTitle":"Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Modern life is cacophonous. Even in our most quiet spaces, there’s the hum of HVAC, the rumble of traffic or a distant, tinny voice coming through someone else’s headphones. We simply cannot escape the din of ceaseless motion, production and consumption.\u003c/p>\n\u003cp>[aside postID='arts_13929082']At the Contemporary Jewish Museum, sounds both real and fantastical waft over the gallery walls of Mika Rottenberg’s wonderfully titled exhibition, \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/195\">Spaghetti Blockchain\u003c/a>\u003c/i>. The show, which includes three looping video installations and a handful of kinetic sculptures, provides less of an escape from the everyday than a magical heightening of it. In Rottenberg’s hands, once mundane activities become hilariously, often uncomfortably, weird, underlining systems of mass production in an age of hypercapitalism.\u003c/p>\n\u003cp>The show opens with a bang, a crunch and a sneeze. On the museum’s second floor, an untitled video projects onto an angled wall; a hammer smashes colored light bulbs into a rainbow of glass shards. A nearby screen plays \u003ci>Sneeze\u003c/i> (2012), Rottenberg’s earliest work in the CJM survey (and one of the few pieces here with any male protagonists). In it, besuited men with comically red noses achoo out live rabbits with a soft thump. \u003c/p>\n\u003cfigure id=\"attachment_13930474\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1.jpeg\" alt=\"A woman sits in a booth of colorful inflatable plastic toys.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13930474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-768x432.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mika Rottenberg, video still from ‘Cosmic Generator,’ 2017. \u003ccite>(© Mika Rottenberg; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this deadpan pairing, we get an early sense of the notes Rottenberg likes to hit: ceaseless labor and absurdist outcomes. In the exhibition’s winding arrangement, we enter \u003ci>Cosmic Generator\u003c/i> (2017/2018) through a rough-hewn tunnel and a sparkly curtain. The video connects two spots on the globe through one of Rottenberg’s signature \u003ca href=\"https://www.kqed.org/arts/13828228/the-art-of-rube-goldberg-contemporary-jewish-museum\">Rube-Goldberg-esque\u003c/a> contraptions, seemingly turning geography (and physics) upside down. \u003c/p>\n\u003cp>One of those locales is Yiwu Market, a wholesale market complex in eastern China, where women sit among mostly plastic, often flashing wares, nearly disappearing to their overstuffed product booths. The other is Calexico and Mexicali, a symbiotic pair of cities spread across the U.S.-Mexico border. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When a string of rope lights produced in China can quickly move nearly anywhere in the world, how do people’s hours-long journeys across car-clogged borders even make sense? Rottenberg’s answer is they don’t — it’s all strange. \u003c/p>\n\u003cp>But she emphasizes this comparison without didacticism. Playful sound and visual effects, a rainbow-lit tunnel and a man dressed — inexplicably — in a taco costume, push \u003ci>Cosmic Generator\u003c/i> into fever-dream territory, underlining that the logic overseeing the international movement of goods and people is 100% illogical. \u003c/p>\n\u003cfigure id=\"attachment_13930475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03.jpg\" alt=\"Darkened room with projection of white woman with elongated nose in room of bouquets\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13930475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘NoNoseKnows,’ 2015 in ‘Mika Rottenberg: Spaghetti Blockchain’ at the Contemporary Jewish Museum. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A room of those Rube Goldbergian kinetic sculptures, some available to crank and pedal, set the stage for Rottenberg’s next video, \u003ci>NoNoseKnows\u003c/i> (2015). Here, the labor is less familiar and more gooey. Filmed in Zhejiang province, China, the video stars the performer Bunny Glamazon as a Western “boss” at a pearl factory, where we see workers move through both the delicate and crude steps of farming pearls. In her office, Glamazon does the inscrutable work of all managers: she sniffs various small bouquets, spritzes a pair of feet protruding from a bucket and sneezes out elaborate pasta dishes. (The stack of untouched plates creates a neat visual parallel to a scene of opened oysters tossed in a muddy pile, emptied of pearls.)\u003c/p>\n\u003cp>While ideas about working conditions, natural resources, overconsumption and waste are inevitable byproducts of watching the delightfully bizarre dynamics of \u003ci>NoNoseKnows\u003c/i>, the video resists moral conclusions. Every consumer good has an origin story, the video posits, elaborately spinning out a complex system that is part documentary, part fantasy, a messy and tactile mix of sculptural space and cold factory. \u003c/p>\n\u003cp>\u003ci>NoNoseKnows\u003c/i> taps into rhythms of production — whacking open oysters, rapidly sorting pearls, turning a hand-crank to create a pollen-filled breeze — and it’s these sounds that best set the stage for the exhibition’s final piece and Rottenberg’s newest work: \u003ci>Spaghetti Blockchain\u003c/i> (2019). \u003c/p>\n\u003cfigure id=\"attachment_13930476\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1.jpeg\" alt=\"A Tuvan woman in traditional clothing sings with eyes closed, grassland in background\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13930476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mika Rottenberg, video still from ‘Spaghetti Blockchain,’ 2019. \u003ccite>(© Mika Rottenberg; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the previous two videos took their inspiration from particular places and processes, \u003ci>Spaghetti Blockchain\u003c/i> revels in the nowhere of the internet. Soundtracked by Tuvan throat singing and the hum of the Large Hadron Collider, the video feels epic in scope (everything is matter!) but its centerpiece is a series of ASMR-like interactions with objects. A disembodied hand smacks a gelatin cylinder, another frantically grabs at colorful magnetic balls, yet another scrapes ridges into a block of red clay.\u003c/p>\n\u003cp>Zooming in and out in scale, \u003ci>Spaghetti Blockchain\u003c/i> connects the ASMR video-watcher’s desire for melty, crunchy, sound-producing things with a quest to understand the basic building blocks of the universe. An atomic model made from marshmallows and uncooked spaghetti is not the same as the atomic structure it depicts — but isn’t it also, kind of?\u003c/p>\n\u003cp>Watching cotton candy phase change into a bubbling liquid, your own body melting into a bean bag, it’s easy to accept this duality because Rottenberg makes it so visually and aurally scintillating to do so. In all the work on view, she seduces the viewer with colors, textures, improbable mechanisms and magical thinking. Her trick in the process is to pry us open, just like those oysters, and insert a tiny irritant of a question. Why does this system work this way? Why are we attracted to these things? What is our place in this weird, weird world?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mika Rottenberg: Spaghetti Blockchain’ is on view at the Contemporary Jewish Museum through Oct. 22, 2023. \u003ca href=\"https://www.thecjm.org/exhibitions/195\">Show details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In a survey of the video artist’s recent work at the Contemporary Jewish Museum, mundane activities become delightfully strange.","status":"publish","parent":0,"modified":1705005382,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":981},"headData":{"title":"At the CJM, Mika Rottenberg Pries Open Our Very Weird World | KQED","description":"In a survey of the video artist’s recent work at the Contemporary Jewish Museum, mundane activities become delightfully strange.","ogTitle":"Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World","ogDescription":"","ogImgId":"","twTitle":"Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World","twDescription":"","twImgId":"","socialTitle":"At the CJM, Mika Rottenberg Pries Open Our Very Weird World %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mika Rottenberg’s ‘Spaghetti Blockchain’ Pries Open Our Very Weird World","datePublished":"2023-06-14T18:11:05.000Z","dateModified":"2024-01-11T20:36:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930462/mika-rottenberg-spaghetti-blockchain-contemporary-jewish-museum-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Modern life is cacophonous. Even in our most quiet spaces, there’s the hum of HVAC, the rumble of traffic or a distant, tinny voice coming through someone else’s headphones. We simply cannot escape the din of ceaseless motion, production and consumption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929082","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the Contemporary Jewish Museum, sounds both real and fantastical waft over the gallery walls of Mika Rottenberg’s wonderfully titled exhibition, \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/195\">Spaghetti Blockchain\u003c/a>\u003c/i>. The show, which includes three looping video installations and a handful of kinetic sculptures, provides less of an escape from the everyday than a magical heightening of it. In Rottenberg’s hands, once mundane activities become hilariously, often uncomfortably, weird, underlining systems of mass production in an age of hypercapitalism.\u003c/p>\n\u003cp>The show opens with a bang, a crunch and a sneeze. On the museum’s second floor, an untitled video projects onto an angled wall; a hammer smashes colored light bulbs into a rainbow of glass shards. A nearby screen plays \u003ci>Sneeze\u003c/i> (2012), Rottenberg’s earliest work in the CJM survey (and one of the few pieces here with any male protagonists). In it, besuited men with comically red noses achoo out live rabbits with a soft thump. \u003c/p>\n\u003cfigure id=\"attachment_13930474\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1.jpeg\" alt=\"A woman sits in a booth of colorful inflatable plastic toys.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13930474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/01_Rottenberg_Cosmic-Generator_Still-1-768x432.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mika Rottenberg, video still from ‘Cosmic Generator,’ 2017. \u003ccite>(© Mika Rottenberg; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this deadpan pairing, we get an early sense of the notes Rottenberg likes to hit: ceaseless labor and absurdist outcomes. In the exhibition’s winding arrangement, we enter \u003ci>Cosmic Generator\u003c/i> (2017/2018) through a rough-hewn tunnel and a sparkly curtain. The video connects two spots on the globe through one of Rottenberg’s signature \u003ca href=\"https://www.kqed.org/arts/13828228/the-art-of-rube-goldberg-contemporary-jewish-museum\">Rube-Goldberg-esque\u003c/a> contraptions, seemingly turning geography (and physics) upside down. \u003c/p>\n\u003cp>One of those locales is Yiwu Market, a wholesale market complex in eastern China, where women sit among mostly plastic, often flashing wares, nearly disappearing to their overstuffed product booths. The other is Calexico and Mexicali, a symbiotic pair of cities spread across the U.S.-Mexico border. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When a string of rope lights produced in China can quickly move nearly anywhere in the world, how do people’s hours-long journeys across car-clogged borders even make sense? Rottenberg’s answer is they don’t — it’s all strange. \u003c/p>\n\u003cp>But she emphasizes this comparison without didacticism. Playful sound and visual effects, a rainbow-lit tunnel and a man dressed — inexplicably — in a taco costume, push \u003ci>Cosmic Generator\u003c/i> into fever-dream territory, underlining that the logic overseeing the international movement of goods and people is 100% illogical. \u003c/p>\n\u003cfigure id=\"attachment_13930475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03.jpg\" alt=\"Darkened room with projection of white woman with elongated nose in room of bouquets\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13930475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2023_0530-CJM-ROTTENBERG_03-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘NoNoseKnows,’ 2015 in ‘Mika Rottenberg: Spaghetti Blockchain’ at the Contemporary Jewish Museum. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A room of those Rube Goldbergian kinetic sculptures, some available to crank and pedal, set the stage for Rottenberg’s next video, \u003ci>NoNoseKnows\u003c/i> (2015). Here, the labor is less familiar and more gooey. Filmed in Zhejiang province, China, the video stars the performer Bunny Glamazon as a Western “boss” at a pearl factory, where we see workers move through both the delicate and crude steps of farming pearls. In her office, Glamazon does the inscrutable work of all managers: she sniffs various small bouquets, spritzes a pair of feet protruding from a bucket and sneezes out elaborate pasta dishes. (The stack of untouched plates creates a neat visual parallel to a scene of opened oysters tossed in a muddy pile, emptied of pearls.)\u003c/p>\n\u003cp>While ideas about working conditions, natural resources, overconsumption and waste are inevitable byproducts of watching the delightfully bizarre dynamics of \u003ci>NoNoseKnows\u003c/i>, the video resists moral conclusions. Every consumer good has an origin story, the video posits, elaborately spinning out a complex system that is part documentary, part fantasy, a messy and tactile mix of sculptural space and cold factory. \u003c/p>\n\u003cp>\u003ci>NoNoseKnows\u003c/i> taps into rhythms of production — whacking open oysters, rapidly sorting pearls, turning a hand-crank to create a pollen-filled breeze — and it’s these sounds that best set the stage for the exhibition’s final piece and Rottenberg’s newest work: \u003ci>Spaghetti Blockchain\u003c/i> (2019). \u003c/p>\n\u003cfigure id=\"attachment_13930476\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1.jpeg\" alt=\"A Tuvan woman in traditional clothing sings with eyes closed, grassland in background\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13930476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/02_Rottenberg_Spaghetti-Blockchain_Still-1-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mika Rottenberg, video still from ‘Spaghetti Blockchain,’ 2019. \u003ccite>(© Mika Rottenberg; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the previous two videos took their inspiration from particular places and processes, \u003ci>Spaghetti Blockchain\u003c/i> revels in the nowhere of the internet. Soundtracked by Tuvan throat singing and the hum of the Large Hadron Collider, the video feels epic in scope (everything is matter!) but its centerpiece is a series of ASMR-like interactions with objects. A disembodied hand smacks a gelatin cylinder, another frantically grabs at colorful magnetic balls, yet another scrapes ridges into a block of red clay.\u003c/p>\n\u003cp>Zooming in and out in scale, \u003ci>Spaghetti Blockchain\u003c/i> connects the ASMR video-watcher’s desire for melty, crunchy, sound-producing things with a quest to understand the basic building blocks of the universe. An atomic model made from marshmallows and uncooked spaghetti is not the same as the atomic structure it depicts — but isn’t it also, kind of?\u003c/p>\n\u003cp>Watching cotton candy phase change into a bubbling liquid, your own body melting into a bean bag, it’s easy to accept this duality because Rottenberg makes it so visually and aurally scintillating to do so. In all the work on view, she seduces the viewer with colors, textures, improbable mechanisms and magical thinking. Her trick in the process is to pry us open, just like those oysters, and insert a tiny irritant of a question. Why does this system work this way? Why are we attracted to these things? What is our place in this weird, weird world?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mika Rottenberg: Spaghetti Blockchain’ is on view at the Contemporary Jewish Museum through Oct. 22, 2023. \u003ca href=\"https://www.thecjm.org/exhibitions/195\">Show details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930462/mika-rottenberg-spaghetti-blockchain-contemporary-jewish-museum-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1787","arts_10278","arts_769","arts_585","arts_14152"],"featImg":"arts_13930473","label":"arts_140"},"arts_13912071":{"type":"posts","id":"arts_13912071","meta":{"index":"posts_1591205157","site":"arts","id":"13912071","score":null,"sort":[1650387653000]},"guestAuthors":[],"slug":"cjms-jim-henson-exhibit-highlights-impact-innovation-of-the-man-behind-the-muppets","title":"A Deeper Look at Jim Henson, the Man Behind the Muppets, and His Unbridled Innovations","publishDate":1650387653,"format":"standard","headTitle":"A Deeper Look at Jim Henson, the Man Behind the Muppets, and His Unbridled Innovations | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“As children, we all live in a world of imagination, of fantasy, and for some of us that world of make-believe continues into adulthood.”\u003c/p>\n\u003cp>These are the words of legendary puppeteer, actor and filmmaker Jim Henson. Greeting visitors of the traveling exhibition \u003cem>The Jim Henson Exhibition: Imagination Unlimited\u003c/em>—dedicated to the creator of the Muppets and on view at the Contemporary Jewish Museum through Aug. 14—the quote is plastered upon a Kermit the Frog-green wall at the show’s entrance. (Henson was not Jewish, but a statement from the museum says his work is featured because it “celebrates diversity and inclusion, both core values of the Contemporary Jewish Museum.”)\u003c/p>\n\u003cp>As expected for a show about the Muppets, the installation successfully evokes the sense of childlike wonder that Henson’s creations instilled in so many. But \u003cem>Imagination Unlimited\u003c/em> also puts a closer focus on the moral lessons and technological innovation inherent in Henson’s work.\u003c/p>\n\u003cfigure id=\"attachment_13912084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-800x535.jpg\" alt=\"A male puppeteer holds a Kermit the Frog puppet on the set of a movie\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson and Kermit the Frog in 1978 on the set of ‘The Muppet Movie.’ \u003ccite>(Courtesy The Jim Henson Company/Museum of the Moving Image. Kermit the Frog © Disney/Muppets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the moment Henson checked out two library books on puppeteering as a Washington, D.C.-area high school student in the ’50s, and on through his creations becoming international sensations, the exhibit takes visitors on a journey through Henson’s professional life, which spanned four decades.\u003c/p>\n\u003cp>Containing an impressive collection of storyboards, scripts and behind-the-scenes footage, the exhibit reveals how Henson’s creative process produced some of the most iconic children’s characters of the 20th century. During my visit, I saw hand-drawn storyboards for commercials featuring Muppet prototypes from the ’50s, and how they were perfectly translated onto the screen, as well as \u003cem>The Muppet Movie\u003c/em> test reels that give insight into the complications of operating puppets in real-world environments.\u003c/p>\n\u003cfigure id=\"attachment_13912081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/07_EarlyOscarSketch-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912081\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/07_EarlyOscarSketch-800x634.jpg\" alt=\"a sketch of a pink muppet on paper\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1536x1218.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-2048x1624.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1920x1522.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson’s sketch for Oscar the Grouch, 1969. \u003ccite>(Courtesy The Jim Henson Company / MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though we may think of puppeteering as a rudimentary form of entertainment, Henson relentlessly pushed it toward new horizons; technical innovation was a hallmark of his career. The Henson exhibit explains how he preferred to keep the design of his puppets simple in order to have more control over what he called “the magical triangle”: a puppet’s eyes, nose and mouth, a balance which he believed lent humanism to the puppeteer’s performance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time Henson created the Saturday-morning TV sensation \u003cem>Fraggle Rock\u003c/em> in the mid-’80s, he had actors in full-body puppet suits complete with animatronic heads, whose expressions were controlled off-screen by a puppeteer using a remote-controlled gadget. But it wasn’t just the puppets that evolved—the worlds they inhabited evolved, too.\u003c/p>\n\u003cp>Fast-forward to the full-length movies like \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth\u003c/em>, and Henson’s characters had graduated from being confined to simple, static backgrounds in a television studio to parading around in custom-made, fully-realized 3D worlds with texture and color that would make George Lucas blush.\u003c/p>\n\u003cfigure id=\"attachment_13912079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/04_DarkCrystal_JenKira.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912079\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-800x836.jpg\" alt=\"\" width=\"800\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-800x836.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-1020x1066.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-768x803.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-1469x1536.jpg 1469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira.jpg 1722w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson and Kathryn Mullen performing the puppets Jen and Kira on the set of ‘The Dark Crystal’ in 1981. \u003ccite>(Photograph by Murray Close. © The Jim Henson Company. Courtesy The Jim Henson Company / MoMI.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its more interesting moments, \u003cem>Imagination Unlimited\u003c/em> pulls back the felt to reveal little-known information about the man behind (or beneath) the puppet—like the internal conflict he felt as his creations received widespread acclaim.\u003c/p>\n\u003cp>After all, Henson had moonlit as an experimental filmmaker in the ’60s: he’d created a documentary about counterculture for NBC called \u003cem>Youth 68\u003c/em>, and crafted irreverent short films like the Oscar-nominated \u003cem>Time Piece\u003c/em> and the teleplay psychological thriller \u003cem>The Cube\u003c/em>. He had even considered opening a multimedia nightclub called “Cyclia” in New York or Los Angeles with kaleidoscopic images projected onto the bodies of female dancers and light shows synced with music; a typical LSD lounge. In this context, it makes sense that Henson was apprehensive about the success of \u003cem>Sesame Street\u003c/em> and its ensuing pressures. He didn’t want to be pigeonholed as a children’s performer.\u003c/p>\n\u003cfigure id=\"attachment_13912077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/02-jim-henson-c1965.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/02-jim-henson-c1965-800x787.jpg\" alt=\"A photo from the 60s of a man sitting behind a movie camera in a warehouse.\" width=\"800\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-1020x1004.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-1536x1511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson on the set of ‘Time Piece,’ the short film he directed (and starred in) which was nominated for an Academy Award in 1965. \u003ccite>(The Jim Henson Company. Courtesy The Jim Henson Company / MoMI.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His flirtation with the nightclub scene aside, Henson was at heart a student of film, and was adamant about keeping his characters consistent. \u003cem>Sesame Street\u003c/em> style books on display feature strict guidelines about characters. (Some rules: Oscar the Grouch does not leave his trash can; Big Bird should never be drawn with knees; Bert is only interested in dull things like reading about pigeons.)\u003c/p>\n\u003cp>Henson was similarly purposeful about messaging. Indicative of the lessons he wanted to convey to children, an early \u003cem>Fraggle Rock\u003c/em> script treatment states: “What the show is really about is people getting along with other people, and understanding the delicate balances of the natural world.” Henson added that the show “will make the point that everything affects everything else, and that there is a beauty and harmony of life to be appreciated”—pretty heady stuff for a kid’s show.\u003c/p>\n\u003cfigure id=\"attachment_13912078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/03_jim_henson_fraggles.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912078 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/03_jim_henson_fraggles-800x639.jpg\" alt=\"A puppeteer surrounded by five colorful muppets.\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1536x1227.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-2048x1637.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1920x1534.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson with puppets from Fraggle Rock. \u003ccite>(Courtesy The Jim Henson Company / MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit may be named for Henson, but it importantly draws attention to other influential figures in the Muppetsphere, like Henson’s longtime puppeteering partner Frank Oz, with whom he gave life to the iconic duos of Kermit and Miss Piggy, and Ernie and Bert. \u003cem>The Muppet Show\u003c/em> head writer Jerry Juhl and Henson’s wife and first collaborator, Jane Nebel, are given their due, as well.\u003c/p>\n\u003cp>Absent from the installation is any reference to Henson’s fraught relationship with the Walt Disney Company. Negotiations with Disney for the rights to the Muppets notoriously brought Henson great stress near at the end of his life. (Henson died in 1990 at the age of 53.) Oz once rearked in a \u003ca href=\"https://www.theguardian.com/culture/2021/aug/30/frank-oz-on-life-as-fozzie-bear-miss-piggy-and-yoda-id-love-to-do-the-muppets-again-but-disney-doesnt-want-me\" target=\"_blank\" rel=\"noopener noreferrer\">2021 interview\u003c/a> that “the Disney deal is probably what killed Jim,” later adding that “Jim was not a dealer, he was an artist—and it was destroying him, it really was.”\u003c/p>\n\u003cp>Disney finally did buy the Muppets in 2004, likely explaining why the messier aspects of the transaction aren’t represented in this feel-good exhibition. And there is still so much here to feel good about. Along with the inner workings of Henson’s mind on display for adults who grew up on \u003cem>The Muppet Show \u003c/em>and \u003cem>Sesame Street\u003c/em>, interactive sections of the exhibit offer a create-your-own-Muppet station, and an area where young visitors can put on their own televised puppet show.\u003c/p>\n\u003cfigure id=\"attachment_13912080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-800x1056.jpg\" alt=\"Three puppeteers hold up iconic Bert and Ernie puppets on the set of 'Sesame Street'\" width=\"800\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-1164x1536.jpg 1164w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set.jpg 1364w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Hunt (left), Jim Henson (center), and Frank Oz (right) performing Ernie and Bert on the set of ‘Sesame Street,’ 1970s. \u003ccite>(© 2018, Sesame Workshop Courtesy Sesame Workshop/MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, during the two and a half hours I spent at \u003cem>Imagination Unlimited\u003c/em>, the majority of those who came to see Henson’s work were grown adults. I’m 21 years old, too young to have witnessed the Muppets’ prime of the ’70s and ’80s. I wasn’t even born until 10 years after Henson passed away, well past the Muppets’ network-television popularity. My most prominent Henson-adjacent memories come from watching \u003cem>Sesame Street\u003c/em>’s timelessness as a child, seeing \u003cem>Muppet Treasure Island\u003c/em> reruns on the Disney Channel and going to the theater to watch \u003cem>The Muppets\u003c/em>, the 2011 movie reboot, which I found to be a well-crafted reunion story with some surprising, subtle critiques of capitalistic greed.\u003c/p>\n\u003cp>All this is to say that I may not have the same emotional connection to Henson’s creations that many older adults do. But looking around at the museum, it was heartwarming to vicariously experience the 35-plus crowd’s reactions to their cherished childhood memories. Giddy laughter ensued at a fondly remembered \u003cem>Sesame Street\u003c/em> episode. People sang along to the \u003cem>Fraggle Rock\u003c/em> theme song as the melody filled the room. Others enthusiastically took photos alongside their favorite Muppets, posing under \u003cem>The Muppets Show\u003c/em>’s iconic arches and grinning like children taking first-day-of-school photos.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KLQS6xo40kI\u003c/p>\n\u003cp>Henson helped reinvent puppetry from novel performance art to mainstream entertainment, and in doing so created stories that have helped multiple generations better understand each other’s humanity. In a time where children are growing up consuming more content than ever, and when our society is constantly connected but deeply polarized, Henson and his works serve as an inspiration on how to live more humanely.\u003c/p>\n\u003cp>“My hope,” Henson once said, “is to leave the world a little better for having been there.”\u003c/p>\n\u003cp>\u003cem>The Jim Henson Exhibition: Imagination Unlimited\u003c/em> makes it apparent that, in his time with us, he did just that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Jim Henson Exhibition: Imagination Unlimited’ is on view at the Contemporary Jewish Museum in San Francisco through Aug. 14. \u003ca href=\"https://www.thecjm.org/exhibitions/157\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On view through Aug. 14, an exhibition at the Contemporary Jewish Museum honors the puppeteer's imaginative creativity.","status":"publish","parent":0,"modified":1705006960,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1571},"headData":{"title":"Review: Jim Henson's Muppet Innovations at the Contemporary Jewish Museum | KQED","description":"On view through Aug. 14, the exhibition honors the Muppet puppeteer's imaginative creativity.","ogTitle":"Review: Jim Henson's Muppet Innovations at the Contemporary Jewish Museum","ogDescription":"On view through Aug. 14, the exhibition honors the Muppet puppeteer's imaginative creativity.","ogImgId":"","twTitle":"Review: Jim Henson's Muppet Innovations at the Contemporary Jewish Museum","twDescription":"On view through Aug. 14, the exhibition honors the Muppet puppeteer's imaginative creativity.","twImgId":"","socialTitle":"Review: Jim Henson's Muppet Innovations at the Contemporary Jewish Museum %%page%% %%sep%% KQED","socialDescription":"On view through Aug. 14, the exhibition honors the Muppet puppeteer's imaginative creativity.","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Deeper Look at Jim Henson, the Man Behind the Muppets, and His Unbridled Innovations","datePublished":"2022-04-19T17:00:53.000Z","dateModified":"2024-01-11T21:02:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912071/cjms-jim-henson-exhibit-highlights-impact-innovation-of-the-man-behind-the-muppets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“As children, we all live in a world of imagination, of fantasy, and for some of us that world of make-believe continues into adulthood.”\u003c/p>\n\u003cp>These are the words of legendary puppeteer, actor and filmmaker Jim Henson. Greeting visitors of the traveling exhibition \u003cem>The Jim Henson Exhibition: Imagination Unlimited\u003c/em>—dedicated to the creator of the Muppets and on view at the Contemporary Jewish Museum through Aug. 14—the quote is plastered upon a Kermit the Frog-green wall at the show’s entrance. (Henson was not Jewish, but a statement from the museum says his work is featured because it “celebrates diversity and inclusion, both core values of the Contemporary Jewish Museum.”)\u003c/p>\n\u003cp>As expected for a show about the Muppets, the installation successfully evokes the sense of childlike wonder that Henson’s creations instilled in so many. But \u003cem>Imagination Unlimited\u003c/em> also puts a closer focus on the moral lessons and technological innovation inherent in Henson’s work.\u003c/p>\n\u003cfigure id=\"attachment_13912084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-800x535.jpg\" alt=\"A male puppeteer holds a Kermit the Frog puppet on the set of a movie\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/13_Jim_Henson_and_Kermit_Muppet_Movie-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson and Kermit the Frog in 1978 on the set of ‘The Muppet Movie.’ \u003ccite>(Courtesy The Jim Henson Company/Museum of the Moving Image. Kermit the Frog © Disney/Muppets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the moment Henson checked out two library books on puppeteering as a Washington, D.C.-area high school student in the ’50s, and on through his creations becoming international sensations, the exhibit takes visitors on a journey through Henson’s professional life, which spanned four decades.\u003c/p>\n\u003cp>Containing an impressive collection of storyboards, scripts and behind-the-scenes footage, the exhibit reveals how Henson’s creative process produced some of the most iconic children’s characters of the 20th century. During my visit, I saw hand-drawn storyboards for commercials featuring Muppet prototypes from the ’50s, and how they were perfectly translated onto the screen, as well as \u003cem>The Muppet Movie\u003c/em> test reels that give insight into the complications of operating puppets in real-world environments.\u003c/p>\n\u003cfigure id=\"attachment_13912081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/07_EarlyOscarSketch-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912081\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/07_EarlyOscarSketch-800x634.jpg\" alt=\"a sketch of a pink muppet on paper\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1536x1218.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-2048x1624.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/07_EarlyOscarSketch-1920x1522.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson’s sketch for Oscar the Grouch, 1969. \u003ccite>(Courtesy The Jim Henson Company / MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though we may think of puppeteering as a rudimentary form of entertainment, Henson relentlessly pushed it toward new horizons; technical innovation was a hallmark of his career. The Henson exhibit explains how he preferred to keep the design of his puppets simple in order to have more control over what he called “the magical triangle”: a puppet’s eyes, nose and mouth, a balance which he believed lent humanism to the puppeteer’s performance. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time Henson created the Saturday-morning TV sensation \u003cem>Fraggle Rock\u003c/em> in the mid-’80s, he had actors in full-body puppet suits complete with animatronic heads, whose expressions were controlled off-screen by a puppeteer using a remote-controlled gadget. But it wasn’t just the puppets that evolved—the worlds they inhabited evolved, too.\u003c/p>\n\u003cp>Fast-forward to the full-length movies like \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth\u003c/em>, and Henson’s characters had graduated from being confined to simple, static backgrounds in a television studio to parading around in custom-made, fully-realized 3D worlds with texture and color that would make George Lucas blush.\u003c/p>\n\u003cfigure id=\"attachment_13912079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/04_DarkCrystal_JenKira.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912079\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-800x836.jpg\" alt=\"\" width=\"800\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-800x836.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-1020x1066.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-768x803.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira-1469x1536.jpg 1469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/04_DarkCrystal_JenKira.jpg 1722w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson and Kathryn Mullen performing the puppets Jen and Kira on the set of ‘The Dark Crystal’ in 1981. \u003ccite>(Photograph by Murray Close. © The Jim Henson Company. Courtesy The Jim Henson Company / MoMI.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its more interesting moments, \u003cem>Imagination Unlimited\u003c/em> pulls back the felt to reveal little-known information about the man behind (or beneath) the puppet—like the internal conflict he felt as his creations received widespread acclaim.\u003c/p>\n\u003cp>After all, Henson had moonlit as an experimental filmmaker in the ’60s: he’d created a documentary about counterculture for NBC called \u003cem>Youth 68\u003c/em>, and crafted irreverent short films like the Oscar-nominated \u003cem>Time Piece\u003c/em> and the teleplay psychological thriller \u003cem>The Cube\u003c/em>. He had even considered opening a multimedia nightclub called “Cyclia” in New York or Los Angeles with kaleidoscopic images projected onto the bodies of female dancers and light shows synced with music; a typical LSD lounge. In this context, it makes sense that Henson was apprehensive about the success of \u003cem>Sesame Street\u003c/em> and its ensuing pressures. He didn’t want to be pigeonholed as a children’s performer.\u003c/p>\n\u003cfigure id=\"attachment_13912077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/02-jim-henson-c1965.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/02-jim-henson-c1965-800x787.jpg\" alt=\"A photo from the 60s of a man sitting behind a movie camera in a warehouse.\" width=\"800\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-1020x1004.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965-1536x1511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/02-jim-henson-c1965.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson on the set of ‘Time Piece,’ the short film he directed (and starred in) which was nominated for an Academy Award in 1965. \u003ccite>(The Jim Henson Company. Courtesy The Jim Henson Company / MoMI.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His flirtation with the nightclub scene aside, Henson was at heart a student of film, and was adamant about keeping his characters consistent. \u003cem>Sesame Street\u003c/em> style books on display feature strict guidelines about characters. (Some rules: Oscar the Grouch does not leave his trash can; Big Bird should never be drawn with knees; Bert is only interested in dull things like reading about pigeons.)\u003c/p>\n\u003cp>Henson was similarly purposeful about messaging. Indicative of the lessons he wanted to convey to children, an early \u003cem>Fraggle Rock\u003c/em> script treatment states: “What the show is really about is people getting along with other people, and understanding the delicate balances of the natural world.” Henson added that the show “will make the point that everything affects everything else, and that there is a beauty and harmony of life to be appreciated”—pretty heady stuff for a kid’s show.\u003c/p>\n\u003cfigure id=\"attachment_13912078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/03_jim_henson_fraggles.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912078 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/03_jim_henson_fraggles-800x639.jpg\" alt=\"A puppeteer surrounded by five colorful muppets.\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1536x1227.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-2048x1637.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/03_jim_henson_fraggles-1920x1534.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jim Henson with puppets from Fraggle Rock. \u003ccite>(Courtesy The Jim Henson Company / MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit may be named for Henson, but it importantly draws attention to other influential figures in the Muppetsphere, like Henson’s longtime puppeteering partner Frank Oz, with whom he gave life to the iconic duos of Kermit and Miss Piggy, and Ernie and Bert. \u003cem>The Muppet Show\u003c/em> head writer Jerry Juhl and Henson’s wife and first collaborator, Jane Nebel, are given their due, as well.\u003c/p>\n\u003cp>Absent from the installation is any reference to Henson’s fraught relationship with the Walt Disney Company. Negotiations with Disney for the rights to the Muppets notoriously brought Henson great stress near at the end of his life. (Henson died in 1990 at the age of 53.) Oz once rearked in a \u003ca href=\"https://www.theguardian.com/culture/2021/aug/30/frank-oz-on-life-as-fozzie-bear-miss-piggy-and-yoda-id-love-to-do-the-muppets-again-but-disney-doesnt-want-me\" target=\"_blank\" rel=\"noopener noreferrer\">2021 interview\u003c/a> that “the Disney deal is probably what killed Jim,” later adding that “Jim was not a dealer, he was an artist—and it was destroying him, it really was.”\u003c/p>\n\u003cp>Disney finally did buy the Muppets in 2004, likely explaining why the messier aspects of the transaction aren’t represented in this feel-good exhibition. And there is still so much here to feel good about. Along with the inner workings of Henson’s mind on display for adults who grew up on \u003cem>The Muppet Show \u003c/em>and \u003cem>Sesame Street\u003c/em>, interactive sections of the exhibit offer a create-your-own-Muppet station, and an area where young visitors can put on their own televised puppet show.\u003c/p>\n\u003cfigure id=\"attachment_13912080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-800x1056.jpg\" alt=\"Three puppeteers hold up iconic Bert and Ernie puppets on the set of 'Sesame Street'\" width=\"800\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set-1164x1536.jpg 1164w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/06_RichardHunt_JimHenson_FrankOz_on_set.jpg 1364w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Hunt (left), Jim Henson (center), and Frank Oz (right) performing Ernie and Bert on the set of ‘Sesame Street,’ 1970s. \u003ccite>(© 2018, Sesame Workshop Courtesy Sesame Workshop/MoMI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, during the two and a half hours I spent at \u003cem>Imagination Unlimited\u003c/em>, the majority of those who came to see Henson’s work were grown adults. I’m 21 years old, too young to have witnessed the Muppets’ prime of the ’70s and ’80s. I wasn’t even born until 10 years after Henson passed away, well past the Muppets’ network-television popularity. My most prominent Henson-adjacent memories come from watching \u003cem>Sesame Street\u003c/em>’s timelessness as a child, seeing \u003cem>Muppet Treasure Island\u003c/em> reruns on the Disney Channel and going to the theater to watch \u003cem>The Muppets\u003c/em>, the 2011 movie reboot, which I found to be a well-crafted reunion story with some surprising, subtle critiques of capitalistic greed.\u003c/p>\n\u003cp>All this is to say that I may not have the same emotional connection to Henson’s creations that many older adults do. But looking around at the museum, it was heartwarming to vicariously experience the 35-plus crowd’s reactions to their cherished childhood memories. Giddy laughter ensued at a fondly remembered \u003cem>Sesame Street\u003c/em> episode. People sang along to the \u003cem>Fraggle Rock\u003c/em> theme song as the melody filled the room. Others enthusiastically took photos alongside their favorite Muppets, posing under \u003cem>The Muppets Show\u003c/em>’s iconic arches and grinning like children taking first-day-of-school photos.\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/KLQS6xo40kI'\n title='//www.youtube.com/embed/KLQS6xo40kI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henson helped reinvent puppetry from novel performance art to mainstream entertainment, and in doing so created stories that have helped multiple generations better understand each other’s humanity. In a time where children are growing up consuming more content than ever, and when our society is constantly connected but deeply polarized, Henson and his works serve as an inspiration on how to live more humanely.\u003c/p>\n\u003cp>“My hope,” Henson once said, “is to leave the world a little better for having been there.”\u003c/p>\n\u003cp>\u003cem>The Jim Henson Exhibition: Imagination Unlimited\u003c/em> makes it apparent that, in his time with us, he did just that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Jim Henson Exhibition: Imagination Unlimited’ is on view at the Contemporary Jewish Museum in San Francisco through Aug. 14. \u003ca href=\"https://www.thecjm.org/exhibitions/157\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912071/cjms-jim-henson-exhibit-highlights-impact-innovation-of-the-man-behind-the-muppets","authors":["11792"],"categories":["arts_835","arts_75","arts_990","arts_70"],"tags":["arts_1787","arts_10342","arts_10278","arts_977","arts_7955","arts_15919","arts_1191","arts_585"],"featImg":"arts_13912072","label":"arts"},"arts_13892827":{"type":"posts","id":"arts_13892827","meta":{"index":"posts_1591205157","site":"arts","id":"13892827","score":null,"sort":[1613577630000]},"guestAuthors":[],"slug":"contemporary-jewish-museum-announces-inaugural-artists-in-residence","title":"Contemporary Jewish Museum Announces Inaugural Artists in Residence","publishDate":1613577630,"format":"standard","headTitle":"Contemporary Jewish Museum Announces Inaugural Artists in Residence | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When Bay Area museums get the go-ahead to reopen (hopefully, this time for good), it won’t be business as usual. Too much has changed—and still needs to change—both within these institutions and in the society they seek to reflect. At San Francisco’s \u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>, the pandemic has led to the creation of a new residency program for emerging Bay Area artists, an attempt to tangibly support, in a small-scale but meaningful way, the local arts community.\u003c/p>\n\u003cp>Artists \u003ca href=\"https://www.instagram.com/todos.americanos/\" rel=\"noopener noreferrer\" target=\"_blank\">Jose Arias\u003c/a> and \u003ca href=\"http://www.leah-king.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Leah King\u003c/a> will begin their five-month-long residencies as soon as the museum reopens to the public. Arias, a photographer, will work in the Ronald and Anita Wornick Board Room and King, a multidisciplinary artist, in the Sala Webb Education Center Classroom. Both will receive $1,000 honorariums and a $350 local travel stipend.\u003c/p>\n\u003cp>Senior Curator Heidi Rabben says conversations about the museum’s smaller spaces and the economic struggles of the local arts community started almost immediately after the museum first shut down in mid-March 2020. “It became really clear that there was an interesting way to rethink our commitment to artists as a museum in this time,” Rabben says. “We can do more than just present exhibitions.”\u003c/p>\n\u003cp>This will be the first time the CJM has hosted a residency program. Rabben hopes it’s something that could outlast the need for social distancing. The museum connects the Artist Studios program with the Jewish principle of \u003ci>tzedek\u003c/i>, described as “to share what we have and to strive for equity and justice.” \u003c/p>\n\u003cfigure id=\"attachment_13892836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13892836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jose Arias, ‘American (2),’ 2018; inkjet photo print, 24 x 36 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Arias and King, who are at very different points in their respective bodies of work, the process-based nature of the program serves them equally well. Demands on the artists are minimal: The residency requires they each participate in one virtual public talk with CJM curators and one educational program. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arias in particular is excited to talk to new people about his work—a long-term portraiture project in which he collaborates with his family members to depict their particular understanding of being “an American family.” “I am trying to create my own vernacular as to what that means,” he says. “I’m archiving who we are and what spaces we occupy.” While at the CJM, he plans to work on writing about the project, and to assemble the photographs into a book. \u003c/p>\n\u003cp>Prior to the pandemic, Arias was a regular at San Francisco’s Harvey Milk Photo Center, where he enjoyed not just the equipment but being part of an active community of photographers and having conversations about the images he was making. “That’s why this residency is stepping in in so many ways,” Arias says of the CJM opportunity, “to fill the gaps of a physical resource, a community resource and an intellectual resource that at this point my practice is in need of.” \u003c/p>\n\u003cp>Similarly, King has felt the loss of social and artistic connections over the past year. “I really hope that opportunities like this can help to provide more healing and more space for people to find community,” she says of the CJM residency. “The pandemic has been exceptionally isolating for people.” Especially, she notes, for those in already marginalized populations.\u003c/p>\n\u003cfigure id=\"attachment_13892837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200.jpg\" alt=\"\" width=\"1200\" height=\"960\" class=\"size-full wp-image-13892837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-768x614.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leah King, ‘If my blood is in the soil (am i still free),’ 2020; mixed media on paper, 8 x 10 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her own time at the CJM, King says, “I have a multitude of projects, it’ll be hard for me to decide because I’m just so excited to have a large, clean, heated and rodent-free space to create.” (Her current studio is in a drafty Oakland warehouse.) She’s looking forward to focusing on two projects, one that juxtaposes images of impressive cityscapes with the human labor and forced migration that allowed them to be built, the other a series of interviews with Black Jewish women about their relationship to the phrase “on my mother’s side,” which King ties to misogynoir and anti-Semitism.\u003c/p>\n\u003cp>King, who grew up in the Bay Area and moved back here two years ago, has enduring memories of visiting the CJM as a child, and is excited to work there surrounded by the city’s cultural institutions—especially the Museum of the African Diaspora, the African American Art and Culture Complex and Yerba Buena Center for the Arts. \u003c/p>\n\u003cp>Rabben says the museum received close to 30 applications for the studios, and that the CJM curatorial staff was unfamiliar with the vast majority of applicants. “My favorite part of this whole process is that I learned about all these artists I didn’t know before,” Rabben says. While the CJM has long curated local artists into shows, Rabben says this residency is part of reinvesting in that community at a stage in the art-making process the museum doesn’t ordinarily engage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have an obligation and a passion for really trying to be creative around how we can continue to support artists as all these different atmospheres are shifting,” Rabben says, gesturing to the pandemic, and calls for racial equity and the end of institutional ‘neutrality.’ “Especially knowing that the arts field is going to be really challenged, financially and resource-wise for next couple of years.”\u003c/p>\n\n","blocks":[],"excerpt":"The Artist Studios program will host Bay Area artists Jose Arias and Leah King for five months—as soon as the museum reopens.","status":"publish","parent":0,"modified":1705019465,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":950},"headData":{"title":"Contemporary Jewish Museum Announces Inaugural Artists in Residence | KQED","description":"The Artist Studios program will host Bay Area artists Jose Arias and Leah King for five months—as soon as the museum reopens.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Contemporary Jewish Museum Announces Inaugural Artists in Residence","datePublished":"2021-02-17T16:00:30.000Z","dateModified":"2024-01-12T00:31:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892827/contemporary-jewish-museum-announces-inaugural-artists-in-residence","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bay Area museums get the go-ahead to reopen (hopefully, this time for good), it won’t be business as usual. Too much has changed—and still needs to change—both within these institutions and in the society they seek to reflect. At San Francisco’s \u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>, the pandemic has led to the creation of a new residency program for emerging Bay Area artists, an attempt to tangibly support, in a small-scale but meaningful way, the local arts community.\u003c/p>\n\u003cp>Artists \u003ca href=\"https://www.instagram.com/todos.americanos/\" rel=\"noopener noreferrer\" target=\"_blank\">Jose Arias\u003c/a> and \u003ca href=\"http://www.leah-king.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Leah King\u003c/a> will begin their five-month-long residencies as soon as the museum reopens to the public. Arias, a photographer, will work in the Ronald and Anita Wornick Board Room and King, a multidisciplinary artist, in the Sala Webb Education Center Classroom. Both will receive $1,000 honorariums and a $350 local travel stipend.\u003c/p>\n\u003cp>Senior Curator Heidi Rabben says conversations about the museum’s smaller spaces and the economic struggles of the local arts community started almost immediately after the museum first shut down in mid-March 2020. “It became really clear that there was an interesting way to rethink our commitment to artists as a museum in this time,” Rabben says. “We can do more than just present exhibitions.”\u003c/p>\n\u003cp>This will be the first time the CJM has hosted a residency program. Rabben hopes it’s something that could outlast the need for social distancing. The museum connects the Artist Studios program with the Jewish principle of \u003ci>tzedek\u003c/i>, described as “to share what we have and to strive for equity and justice.” \u003c/p>\n\u003cfigure id=\"attachment_13892836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13892836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-arias.jose_.8_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jose Arias, ‘American (2),’ 2018; inkjet photo print, 24 x 36 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Arias and King, who are at very different points in their respective bodies of work, the process-based nature of the program serves them equally well. Demands on the artists are minimal: The residency requires they each participate in one virtual public talk with CJM curators and one educational program. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arias in particular is excited to talk to new people about his work—a long-term portraiture project in which he collaborates with his family members to depict their particular understanding of being “an American family.” “I am trying to create my own vernacular as to what that means,” he says. “I’m archiving who we are and what spaces we occupy.” While at the CJM, he plans to work on writing about the project, and to assemble the photographs into a book. \u003c/p>\n\u003cp>Prior to the pandemic, Arias was a regular at San Francisco’s Harvey Milk Photo Center, where he enjoyed not just the equipment but being part of an active community of photographers and having conversations about the images he was making. “That’s why this residency is stepping in in so many ways,” Arias says of the CJM opportunity, “to fill the gaps of a physical resource, a community resource and an intellectual resource that at this point my practice is in need of.” \u003c/p>\n\u003cp>Similarly, King has felt the loss of social and artistic connections over the past year. “I really hope that opportunities like this can help to provide more healing and more space for people to find community,” she says of the CJM residency. “The pandemic has been exceptionally isolating for people.” Especially, she notes, for those in already marginalized populations.\u003c/p>\n\u003cfigure id=\"attachment_13892837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200.jpg\" alt=\"\" width=\"1200\" height=\"960\" class=\"size-full wp-image-13892837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Copy-of-if-my-blood_trees_web_1200-768x614.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leah King, ‘If my blood is in the soil (am i still free),’ 2020; mixed media on paper, 8 x 10 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her own time at the CJM, King says, “I have a multitude of projects, it’ll be hard for me to decide because I’m just so excited to have a large, clean, heated and rodent-free space to create.” (Her current studio is in a drafty Oakland warehouse.) She’s looking forward to focusing on two projects, one that juxtaposes images of impressive cityscapes with the human labor and forced migration that allowed them to be built, the other a series of interviews with Black Jewish women about their relationship to the phrase “on my mother’s side,” which King ties to misogynoir and anti-Semitism.\u003c/p>\n\u003cp>King, who grew up in the Bay Area and moved back here two years ago, has enduring memories of visiting the CJM as a child, and is excited to work there surrounded by the city’s cultural institutions—especially the Museum of the African Diaspora, the African American Art and Culture Complex and Yerba Buena Center for the Arts. \u003c/p>\n\u003cp>Rabben says the museum received close to 30 applications for the studios, and that the CJM curatorial staff was unfamiliar with the vast majority of applicants. “My favorite part of this whole process is that I learned about all these artists I didn’t know before,” Rabben says. While the CJM has long curated local artists into shows, Rabben says this residency is part of reinvesting in that community at a stage in the art-making process the museum doesn’t ordinarily engage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have an obligation and a passion for really trying to be creative around how we can continue to support artists as all these different atmospheres are shifting,” Rabben says, gesturing to the pandemic, and calls for racial equity and the end of institutional ‘neutrality.’ “Especially knowing that the arts field is going to be really challenged, financially and resource-wise for next couple of years.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892827/contemporary-jewish-museum-announces-inaugural-artists-in-residence","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_1787","arts_10278"],"featImg":"arts_13892834","label":"arts"},"arts_13861476":{"type":"posts","id":"arts_13861476","meta":{"index":"posts_1591205157","site":"arts","id":"13861476","score":null,"sort":[1577894452000]},"guestAuthors":[],"slug":"daria-martin-films-her-grandmothers-dreams-in-tonight-the-world","title":"Daria Martin Films Her Grandmother's Dreams","publishDate":1577894452,"format":"standard","headTitle":"Daria Martin Films Her Grandmother’s Dreams | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It will take decades to parse the repercussions of contemporary political decisions, but \u003ca href=\"https://www.kqed.org/arts/13861413/now-playing-distance-between-1930s-and-present-collapses-at-s-f-jewish-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">analogous moments in history already exist\u003c/a>. Examples of racism and intolerance, tightened borders, deportations, mass incarceration and a general lack of empathy are easy to find in the United States’ past—and in other, more sinister, regimes.\u003c/p>\n\u003cp>And we know the effects of this trauma; it lasts for generations.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, Bay Area-born, London-based artist Daria Martin delves into her own family’s history to tell stories of anxiety, analysis and artistic inspiration, all stemming from her ancestors’ 1938 flight from Brno. Drawing five distinct narratives from her grandmother Susi Stiassni’s dream journals—more than 20,000 pages written over 37 years for the purpose of Jungian psychoanalysis—Martin creates an installation suspended in time, but rooted in place.\u003c/p>\n\u003cfigure id=\"attachment_13861478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200.jpg\" alt=\"Daria Martin, Still from 'Tonight the World,' 2019.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-1020x408.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daria Martin, Still from ‘Tonight the World,’ 2019. \u003ccite>(© Daria Martin; Courtesy Maureen Paley, London)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That place, Villa Stiassni, is her grandmother’s childhood home. The Gestapo seized the modernist villa after the family fled; today, it is a Czech heritage site. Through film, architectural installation and digital reconstruction, \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/110\" target=\"_blank\" rel=\"noopener noreferrer\">Tonight the World\u003c/a>\u003c/i> reclaims Villa Stiassni as a site of personal significance, a place to which Susi only ever returned in her dreams.\u003c/p>\n\u003cp>Casting women of different ages to “play” her grandmother (all clad in wonderfully varied magenta outfits), Martin filmed extrapolations of five dreams at the actual villa in Brno. These short sequences create some structure and a bit of loopy logic out of Susi’s often-brief dream entries, but they remain eerie and tinged with danger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere, Martin symbolically hands the agency of exploring place and memory over to others: In \u003ci>Refuge\u003c/i>, a video game the artist created with developers in Brno, a player wanders through the villa, rendered in gray, seeking out Susi’s full-color dream objects.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin traces her desire to be an artist back to her grandmother, who was part of Ann O’Hanlon’s Mill Valley group “\u003ca href=\"http://ohanloncenter.org/about/story/\" target=\"_blank\" rel=\"noopener noreferrer\">Sight & Insight\u003c/a>,” and so an added treat within \u003ci>Tonight the World\u003c/i> is a small display of Susi’s abstract paintings in a corridor off the dream-filled main gallery. They’re a testament to the fact that while trauma can be transmitted through generations, so too can creative energies and images of great beauty. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Martin roots her solo show at the Contemporary Jewish Museum in images and memories of the home her grandmother fled during WWII. ","status":"publish","parent":0,"modified":1705021594,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":412},"headData":{"title":"Daria Martin Films Her Grandmother's Dreams | KQED","description":"Martin roots her solo show at the Contemporary Jewish Museum in images and memories of the home her grandmother fled during WWII. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Daria Martin Films Her Grandmother's Dreams","datePublished":"2020-01-01T16:00:52.000Z","dateModified":"2024-01-12T01:06:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1561622400,"endTime":1582527600,"startTimeString":"June 27, 2019–Feb. 23, 2020","venueName":"Contemporary Jewish Museum","venueAddress":"736 Mission St., San Francisco","eventLink":"https://www.thecjm.org/exhibitions/110","path":"/arts/13861476/daria-martin-films-her-grandmothers-dreams-in-tonight-the-world","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It will take decades to parse the repercussions of contemporary political decisions, but \u003ca href=\"https://www.kqed.org/arts/13861413/now-playing-distance-between-1930s-and-present-collapses-at-s-f-jewish-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">analogous moments in history already exist\u003c/a>. Examples of racism and intolerance, tightened borders, deportations, mass incarceration and a general lack of empathy are easy to find in the United States’ past—and in other, more sinister, regimes.\u003c/p>\n\u003cp>And we know the effects of this trauma; it lasts for generations.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, Bay Area-born, London-based artist Daria Martin delves into her own family’s history to tell stories of anxiety, analysis and artistic inspiration, all stemming from her ancestors’ 1938 flight from Brno. Drawing five distinct narratives from her grandmother Susi Stiassni’s dream journals—more than 20,000 pages written over 37 years for the purpose of Jungian psychoanalysis—Martin creates an installation suspended in time, but rooted in place.\u003c/p>\n\u003cfigure id=\"attachment_13861478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200.jpg\" alt=\"Daria Martin, Still from 'Tonight the World,' 2019.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/11.-Daria-Martin-Tonight-the-World-2019-anamorphic-16mm-film-transferred-to-HD-13_1200-1020x408.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daria Martin, Still from ‘Tonight the World,’ 2019. \u003ccite>(© Daria Martin; Courtesy Maureen Paley, London)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That place, Villa Stiassni, is her grandmother’s childhood home. The Gestapo seized the modernist villa after the family fled; today, it is a Czech heritage site. Through film, architectural installation and digital reconstruction, \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/110\" target=\"_blank\" rel=\"noopener noreferrer\">Tonight the World\u003c/a>\u003c/i> reclaims Villa Stiassni as a site of personal significance, a place to which Susi only ever returned in her dreams.\u003c/p>\n\u003cp>Casting women of different ages to “play” her grandmother (all clad in wonderfully varied magenta outfits), Martin filmed extrapolations of five dreams at the actual villa in Brno. These short sequences create some structure and a bit of loopy logic out of Susi’s often-brief dream entries, but they remain eerie and tinged with danger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere, Martin symbolically hands the agency of exploring place and memory over to others: In \u003ci>Refuge\u003c/i>, a video game the artist created with developers in Brno, a player wanders through the villa, rendered in gray, seeking out Susi’s full-color dream objects.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin traces her desire to be an artist back to her grandmother, who was part of Ann O’Hanlon’s Mill Valley group “\u003ca href=\"http://ohanloncenter.org/about/story/\" target=\"_blank\" rel=\"noopener noreferrer\">Sight & Insight\u003c/a>,” and so an added treat within \u003ci>Tonight the World\u003c/i> is a small display of Susi’s abstract paintings in a corridor off the dream-filled main gallery. They’re a testament to the fact that while trauma can be transmitted through generations, so too can creative energies and images of great beauty. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861476/daria-martin-films-her-grandmothers-dreams-in-tonight-the-world","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_1787","arts_1118","arts_1006","arts_596","arts_769","arts_1334"],"featImg":"arts_13861479","label":"arts_140"},"arts_13870562":{"type":"posts","id":"arts_13870562","meta":{"index":"posts_1591205157","site":"arts","id":"13870562","score":null,"sort":[1575414035000]},"guestAuthors":[],"slug":"museum-stores-are-secretly-the-best-places-to-buy-gifts-heres-why","title":"Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why","publishDate":1575414035,"format":"standard","headTitle":"Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Does the thought of finding well-designed, locally relevant and thoughtful gifts for your loved ones fill you with dread? Never fear: the anxiety of lackluster gift-giving can be eradicated by real experts in the world, people who’ve already done the hard work of finding all that good stuff.\u003c/p>\n\u003cp>They are the managers, retail directors, buyers and distinguished employees of Bay Area museum stores… and they’re here to help. We asked representatives from five Bay Area arts institutions for their personal gift recommendations; all you have to worry about now is wrapping.\u003c/p>\n\u003ch2>Ceramics and Food to Fill Them\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870654\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NorishZine_crop.jpg\" alt=\"A cooking zine in a wooden box sits to the right of a glass vase of flowers on a white counter.\" width=\"972\" height=\"816\" class=\"size-full wp-image-13870654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-800x672.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-768x645.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">‘Nourish Co. All Day: A Mini Cookbook’ \u003ccite>(Courtesy of Nourish Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gravity Goldberg, director of public programs and visitor experience at the Contemporary Jewish Museum, had an especially hard time picking just one item. \u003c/p>\n\u003cp>“This fall we’ve been having a series of ceramic pop-ups in conjunction with our \u003ca href=\"https://www.kqed.org/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor\" rel=\"noopener noreferrer\" target=\"_blank\">Annabeth Rosen exhibition\u003c/a>, so we’ve been working each month with a different, mostly local ceramics artist,” Goldberg says. She’s fallen in love with a number of items, like \u003ca href=\"https://www.sarahkersten.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sarah Kersten\u003c/a>’s fermentation jar and \u003ca href=\"https://www.cestbonclay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Cassie Brown\u003c/a>’s Bauhaus-esque take on a black vase. \u003c/p>\n\u003cp>But for a lower price point, Goldberg recommends a \u003ca href=\"https://nourish-co.com/shop/nourish-co-all-day\" rel=\"noopener noreferrer\" target=\"_blank\">mini-cookbook zine\u003c/a> by Nourish Co. ($15), a lifestyle brand run by San Francisco-based Kristin Eriko Posner, who is Japanese American and Jewish. \u003c/p>\n\u003cp>“It’s full of recipes that are Japanese-Jewish. She does a Jewish donburi, it’s fun! It’s a cute little Hanukkah stocking stuffer,” Goldberg says.\u003c/p>\n\u003ch2>Gifts for Hosting and Cooking\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"http://www.asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870657\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/umeboshi_crop.jpg\" alt=\"Japanese salty plums in two jars and on a plate with chopsticks.\" width=\"1000\" height=\"608\" class=\"size-full wp-image-13870657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-768x467.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Umeboshi savory plum pickles by Yumé Boshi. \u003ccite>(Courtesy of Yumé Boshi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the exhibition schedule a bit different from years past, as the Asian Art Museum undergoes a \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" rel=\"noopener noreferrer\" target=\"_blank\">major expansion project\u003c/a>, Director of Retail Françoise Sengens decided the organizing principle of this year’s winter display would be—quite simply—food. \u003c/p>\n\u003cp>“Whatever your holidays are, there is always a big meal that people share with family and friends. So I investigated artisans and small companies, mostly Asian American, in San Francisco and the Bay Area,” she says. “We decided to bring in a lot of products, gourmet food and gifts for hosting and cooking.”\u003c/p>\n\u003cp>The centerpiece of the store is a display of \u003ca href=\"https://www.jadechocolates.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jade Chocolates\u003c/a> ($7.95–$34.95), a San Francisco-based company that makes artisan chocolates blended with teas, spices and tropical fruits—all flavors from Asia and the Pacific Islands. \u003c/p>\n\u003cp>But Sengens also recommends a range of tasty treats made by Oakland-based food company \u003ca href=\"https://yumeboshiplum.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yumé Boshi\u003c/a> ($19.95–$22.95). Their small-batch Japanese preserves are made using traditional methods, and simple, locally sourced ingredients. Look for their plum syrup (great in cocktails), jars of Japanese salty plums and a mandarinquat and ume plum marmalade.\u003c/p>\n\u003ch2>‘Black is Beautiful’ in Past and Present Publications\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.moadsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870642\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg\" alt=\"A book cover and a magazine cover.\" width=\"1600\" height=\"700\" class=\"size-full wp-image-13870642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1200x525.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Black is Beautiful’ exhibition catalog and the “Sound Issue” of ‘Umber Magazine.’ \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Museum of the African Diaspora opens \u003ci>\u003ca href=\"https://www.moadsf.org/exhibition/black-is-beautiful-the-photography-of-kwame-brathwaite/\" rel=\"noopener noreferrer\" target=\"_blank\">Black is Beautiful\u003c/a>\u003c/i> on Dec. 4, an exhibition of Kwame Brathewaite’s photography, Visitor Experience Manager Nia McAllister thinks you’re going to want to bring part of the show home with you. \u003c/p>\n\u003cp>This key figure in the second Harlem Renaissance co-founded the African Jazz Arts Society Studios and Grandassa Models, a modeling agency for black women. His powerful images of black men and women with natural hair and clothes celebrating their African roots illustrated the movement that gives the show its name. A catalog ($40) featuring all of the above can be found in MoAD’s small but mighty museum store.\u003c/p>\n\u003cp>If you’re looking for something a bit more rooted in Bay Area artistic production, McAllister has that covered too. “Something we try to feature in the bookstore at MoAD is local black artists and black creatives,” she says, suggesting an Oakland-based publication called \u003ci>\u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\" rel=\"noopener noreferrer\" target=\"_blank\">Umber Magazine\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>“It’s collectively owned by three people of color and it features the visual arts and culture of black and brown people,” McAllister explains. The museum stocks both the magazine’s luxurious “Sound Issue” ($25) and their latest zine, an eight-page large-format publication \u003ci>Umber\u003c/i> describes as “a visual tactile mixtape” ($10).\u003c/p>\n\u003ch2>An Introduction to Electronic Music\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>\u003cb>\u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870651\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg\" alt=\"A white plastic device covered in blue, red and green knobs and levers.\" width=\"1000\" height=\"644\" class=\"size-full wp-image-13870651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-768x495.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Blipblox, “a real synth made for kids,” by Playtime Engineering. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Verboort, a buyer for the San Francisco Museum of Modern Art store, spotted her recommendation earlier this year at a toy fair. “I saw this product, and it stopped me in my tracks,” she remembers. The \u003ca href=\"https://museumstore.sfmoma.org/blipbox-410000382189.html\" rel=\"noopener noreferrer\" target=\"_blank\">Blipblox\u003c/a> ($189) is a synthesizer for children ages three and up, a technically complicated but easy-to-use instrument that kids can experiment with and grow into, eventually plugging into computers to create their own recorded music. \u003c/p>\n\u003cp>Made by the Potrero Hill-based company Playtime Engineering, Verboort saw in the Blipblox not just a fun and educational product, but something that expanded on the museum’s holdings, specifically Brian Eno’s ambient music installations. “Part of my job is to bring in products that relate to our collection and the exhibitions we have, to further educate people about the artists we feature in the museum,” Verboort explains.\u003c/p>\n\u003cp>The Blipblox, along with a selection of other noise-making art-related toys, are available in SFMOMA’s store in what Verboort calls “the family jam band” section. \u003c/p>\n\u003ch2>Colors and Concoctions\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://creativegrowth.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth Art Center\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870647\" class=\"wp-caption aligncenter\" style=\"max-width: 1271px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg\" alt=\"A coloring book cover and four tall clear glasses with intricate black line drawings on them.\" width=\"1271\" height=\"426\" class=\"size-full wp-image-13870647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg 1271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1200x402.jpg 1200w\" sizes=\"(max-width: 1271px) 100vw, 1271px\">\u003cfigcaption class=\"wp-caption-text\">A Creative Growth coloring book and Dinah Simpson’s detailed highball glasses. \u003ccite>(Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creative Growth, a nonprofit founded in 1974, provides artists with disabilities professional studio space, exhibitions and representation. And because they work with over 150 artists, Megan Mirro, the organization’s communications and partnerships associate, has a recommendation that showcases the range of practices they support—and invites participation. The \u003ca href=\"http://creative-growth.shoplightspeed.com/creative-growth-coloring-book.html\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth coloring book\u003c/a> ($15) is collection of black-and-white drawings by 39 studio artists, primed and ready for colorful collaboration.\u003c/p>\n\u003cp>For someone more interested in mixing drinks than watercolors, Mirro recommends a set of \u003ca href=\"http://creative-growth.shoplightspeed.com/dinah-shapiro-totem-glasses-set.html\" rel=\"noopener noreferrer\" target=\"_blank\">four highball glasses\u003c/a> featuring designs by artist Dinah Shapiro ($40). “We chose to design a glass with her because she’s an artist who concocts a lot of her own drink combinations here in the studio,” Mirro explains. “She likes to mix iced tea with yogurts and other types of juices.” \u003c/p>\n\u003cp>The four glasses are a retrospective of sorts—each one comes from a different period of work in the studio, where Shapiro has been making art since 1983.\u003c/p>\n\u003cp>If you’d like to see far more work from the artists at Creative Growth, stop by their \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">holiday studio sale\u003c/a> Dec. 6, 2019–Jan. 17, 2020, where a wide variety of textiles, paintings, drawings and ceramics are available for purchase. “It’s one of the best introductions to our space,” Mirro says. “You can find artwork from the ’70s when we started, or a brand new, hot-off-the-kiln ceramics piece.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We talked to gift shop employees across the Bay Area to find you well-designed, locally relevant and thoughtful gifts.","status":"publish","parent":0,"modified":1705021750,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1248},"headData":{"title":"Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why | KQED","description":"We talked to gift shop employees across the Bay Area to find you well-designed, locally relevant and thoughtful gifts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Museum Stores Are Secretly the Best Places to Buy Gifts—Here’s Why","datePublished":"2019-12-03T23:00:35.000Z","dateModified":"2024-01-12T01:09:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13870562/museum-stores-are-secretly-the-best-places-to-buy-gifts-heres-why","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Does the thought of finding well-designed, locally relevant and thoughtful gifts for your loved ones fill you with dread? Never fear: the anxiety of lackluster gift-giving can be eradicated by real experts in the world, people who’ve already done the hard work of finding all that good stuff.\u003c/p>\n\u003cp>They are the managers, retail directors, buyers and distinguished employees of Bay Area museum stores… and they’re here to help. We asked representatives from five Bay Area arts institutions for their personal gift recommendations; all you have to worry about now is wrapping.\u003c/p>\n\u003ch2>Ceramics and Food to Fill Them\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.thecjm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870654\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NorishZine_crop.jpg\" alt=\"A cooking zine in a wooden box sits to the right of a glass vase of flowers on a white counter.\" width=\"972\" height=\"816\" class=\"size-full wp-image-13870654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-800x672.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NorishZine_crop-768x645.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">‘Nourish Co. All Day: A Mini Cookbook’ \u003ccite>(Courtesy of Nourish Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gravity Goldberg, director of public programs and visitor experience at the Contemporary Jewish Museum, had an especially hard time picking just one item. \u003c/p>\n\u003cp>“This fall we’ve been having a series of ceramic pop-ups in conjunction with our \u003ca href=\"https://www.kqed.org/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor\" rel=\"noopener noreferrer\" target=\"_blank\">Annabeth Rosen exhibition\u003c/a>, so we’ve been working each month with a different, mostly local ceramics artist,” Goldberg says. She’s fallen in love with a number of items, like \u003ca href=\"https://www.sarahkersten.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sarah Kersten\u003c/a>’s fermentation jar and \u003ca href=\"https://www.cestbonclay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Cassie Brown\u003c/a>’s Bauhaus-esque take on a black vase. \u003c/p>\n\u003cp>But for a lower price point, Goldberg recommends a \u003ca href=\"https://nourish-co.com/shop/nourish-co-all-day\" rel=\"noopener noreferrer\" target=\"_blank\">mini-cookbook zine\u003c/a> by Nourish Co. ($15), a lifestyle brand run by San Francisco-based Kristin Eriko Posner, who is Japanese American and Jewish. \u003c/p>\n\u003cp>“It’s full of recipes that are Japanese-Jewish. She does a Jewish donburi, it’s fun! It’s a cute little Hanukkah stocking stuffer,” Goldberg says.\u003c/p>\n\u003ch2>Gifts for Hosting and Cooking\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"http://www.asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870657\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/umeboshi_crop.jpg\" alt=\"Japanese salty plums in two jars and on a plate with chopsticks.\" width=\"1000\" height=\"608\" class=\"size-full wp-image-13870657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/umeboshi_crop-768x467.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Umeboshi savory plum pickles by Yumé Boshi. \u003ccite>(Courtesy of Yumé Boshi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the exhibition schedule a bit different from years past, as the Asian Art Museum undergoes a \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" rel=\"noopener noreferrer\" target=\"_blank\">major expansion project\u003c/a>, Director of Retail Françoise Sengens decided the organizing principle of this year’s winter display would be—quite simply—food. \u003c/p>\n\u003cp>“Whatever your holidays are, there is always a big meal that people share with family and friends. So I investigated artisans and small companies, mostly Asian American, in San Francisco and the Bay Area,” she says. “We decided to bring in a lot of products, gourmet food and gifts for hosting and cooking.”\u003c/p>\n\u003cp>The centerpiece of the store is a display of \u003ca href=\"https://www.jadechocolates.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jade Chocolates\u003c/a> ($7.95–$34.95), a San Francisco-based company that makes artisan chocolates blended with teas, spices and tropical fruits—all flavors from Asia and the Pacific Islands. \u003c/p>\n\u003cp>But Sengens also recommends a range of tasty treats made by Oakland-based food company \u003ca href=\"https://yumeboshiplum.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yumé Boshi\u003c/a> ($19.95–$22.95). Their small-batch Japanese preserves are made using traditional methods, and simple, locally sourced ingredients. Look for their plum syrup (great in cocktails), jars of Japanese salty plums and a mandarinquat and ume plum marmalade.\u003c/p>\n\u003ch2>‘Black is Beautiful’ in Past and Present Publications\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.moadsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870642\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg\" alt=\"A book cover and a magazine cover.\" width=\"1600\" height=\"700\" class=\"size-full wp-image-13870642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Black-Is-Beautiful_Umber_1600-1200x525.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Black is Beautiful’ exhibition catalog and the “Sound Issue” of ‘Umber Magazine.’ \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Museum of the African Diaspora opens \u003ci>\u003ca href=\"https://www.moadsf.org/exhibition/black-is-beautiful-the-photography-of-kwame-brathwaite/\" rel=\"noopener noreferrer\" target=\"_blank\">Black is Beautiful\u003c/a>\u003c/i> on Dec. 4, an exhibition of Kwame Brathewaite’s photography, Visitor Experience Manager Nia McAllister thinks you’re going to want to bring part of the show home with you. \u003c/p>\n\u003cp>This key figure in the second Harlem Renaissance co-founded the African Jazz Arts Society Studios and Grandassa Models, a modeling agency for black women. His powerful images of black men and women with natural hair and clothes celebrating their African roots illustrated the movement that gives the show its name. A catalog ($40) featuring all of the above can be found in MoAD’s small but mighty museum store.\u003c/p>\n\u003cp>If you’re looking for something a bit more rooted in Bay Area artistic production, McAllister has that covered too. “Something we try to feature in the bookstore at MoAD is local black artists and black creatives,” she says, suggesting an Oakland-based publication called \u003ci>\u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\" rel=\"noopener noreferrer\" target=\"_blank\">Umber Magazine\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>“It’s collectively owned by three people of color and it features the visual arts and culture of black and brown people,” McAllister explains. The museum stocks both the magazine’s luxurious “Sound Issue” ($25) and their latest zine, an eight-page large-format publication \u003ci>Umber\u003c/i> describes as “a visual tactile mixtape” ($10).\u003c/p>\n\u003ch2>An Introduction to Electronic Music\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>\u003cb>\u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870651\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg\" alt=\"A white plastic device covered in blue, red and green knobs and levers.\" width=\"1000\" height=\"644\" class=\"size-full wp-image-13870651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Blipblox2_1000x_crop-768x495.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Blipblox, “a real synth made for kids,” by Playtime Engineering. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Verboort, a buyer for the San Francisco Museum of Modern Art store, spotted her recommendation earlier this year at a toy fair. “I saw this product, and it stopped me in my tracks,” she remembers. The \u003ca href=\"https://museumstore.sfmoma.org/blipbox-410000382189.html\" rel=\"noopener noreferrer\" target=\"_blank\">Blipblox\u003c/a> ($189) is a synthesizer for children ages three and up, a technically complicated but easy-to-use instrument that kids can experiment with and grow into, eventually plugging into computers to create their own recorded music. \u003c/p>\n\u003cp>Made by the Potrero Hill-based company Playtime Engineering, Verboort saw in the Blipblox not just a fun and educational product, but something that expanded on the museum’s holdings, specifically Brian Eno’s ambient music installations. “Part of my job is to bring in products that relate to our collection and the exhibitions we have, to further educate people about the artists we feature in the museum,” Verboort explains.\u003c/p>\n\u003cp>The Blipblox, along with a selection of other noise-making art-related toys, are available in SFMOMA’s store in what Verboort calls “the family jam band” section. \u003c/p>\n\u003ch2>Colors and Concoctions\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://creativegrowth.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth Art Center\u003c/a>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13870647\" class=\"wp-caption aligncenter\" style=\"max-width: 1271px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg\" alt=\"A coloring book cover and four tall clear glasses with intricate black line drawings on them.\" width=\"1271\" height=\"426\" class=\"size-full wp-image-13870647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp.jpg 1271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Creative_Growth_Coloring_Book_GlassesComp-1200x402.jpg 1200w\" sizes=\"(max-width: 1271px) 100vw, 1271px\">\u003cfigcaption class=\"wp-caption-text\">A Creative Growth coloring book and Dinah Simpson’s detailed highball glasses. \u003ccite>(Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creative Growth, a nonprofit founded in 1974, provides artists with disabilities professional studio space, exhibitions and representation. And because they work with over 150 artists, Megan Mirro, the organization’s communications and partnerships associate, has a recommendation that showcases the range of practices they support—and invites participation. The \u003ca href=\"http://creative-growth.shoplightspeed.com/creative-growth-coloring-book.html\" rel=\"noopener noreferrer\" target=\"_blank\">Creative Growth coloring book\u003c/a> ($15) is collection of black-and-white drawings by 39 studio artists, primed and ready for colorful collaboration.\u003c/p>\n\u003cp>For someone more interested in mixing drinks than watercolors, Mirro recommends a set of \u003ca href=\"http://creative-growth.shoplightspeed.com/dinah-shapiro-totem-glasses-set.html\" rel=\"noopener noreferrer\" target=\"_blank\">four highball glasses\u003c/a> featuring designs by artist Dinah Shapiro ($40). “We chose to design a glass with her because she’s an artist who concocts a lot of her own drink combinations here in the studio,” Mirro explains. “She likes to mix iced tea with yogurts and other types of juices.” \u003c/p>\n\u003cp>The four glasses are a retrospective of sorts—each one comes from a different period of work in the studio, where Shapiro has been making art since 1983.\u003c/p>\n\u003cp>If you’d like to see far more work from the artists at Creative Growth, stop by their \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">holiday studio sale\u003c/a> Dec. 6, 2019–Jan. 17, 2020, where a wide variety of textiles, paintings, drawings and ceramics are available for purchase. “It’s one of the best introductions to our space,” Mirro says. “You can find artwork from the ’70s when we started, or a brand new, hot-off-the-kiln ceramics piece.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870562/museum-stores-are-secretly-the-best-places-to-buy-gifts-heres-why","authors":["61"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_2250","arts_1787","arts_9693","arts_1006","arts_1987","arts_1381"],"featImg":"arts_13870783","label":"arts"},"arts_13867880":{"type":"posts","id":"arts_13867880","meta":{"index":"posts_1591205157","site":"arts","id":"13867880","score":null,"sort":[1570658413000]},"guestAuthors":[],"slug":"at-the-cjm-20-years-of-annabeth-rosens-earthen-humor","title":"At the CJM, 20 Years of Annabeth Rosen's Earthen Humor","publishDate":1570658413,"format":"standard","headTitle":"At the CJM, 20 Years of Annabeth Rosen’s Earthen Humor | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Annabeth Rosen’s extraordinary exhibit of clay sculptures at the \u003ca href=\"https://www.thecjm.org/exhibitions/109\" rel=\"noopener\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>—single pieces resembling serving vessels, table settings and standing figures—is a virtuosic display of craftsmanship, but also of experimentation. Subtitled \u003cem>Fired, Broken, Gathered, Heaped\u003c/em>, this retrospective features thousands of ceramic fragments assembled into modestly-sized but visually and emotionally powerful composites. \u003c/p>\n\u003cp>Rosen, the Robert Arneson Professor of Ceramics at UC Davis, shares some of that Funk artist’s outré sense of humor, but she also takes from the ceramic abstract expressionist Peter Voulkos (one of her teachers) a love of clay’s versatility, physicality and malleability. I suspect also that Stephen de Staebler’s use of broken and normally discarded pieces from the kiln may have influenced her, and can easily imagine her reconstructed potsherd vessels in curatorial dialogue with his tragic, broken archaic figures. \u003c/p>\n\u003cp>Tracing these possible genealogies takes nothing from Rosen’s achievement, however. We overvalue what appears unique and novel in our era of insecure individuality and compensatory braggadocio; we should acknowledge that art transcends generations, and that the best art is voraciously informed, not willfully ignorant.\u003c/p>\n\u003cfigure id=\"attachment_13867889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200.jpg\" alt=\"Annabeth Rosen, Installation view of 'Fired, Broken, Gathered, Heaped' at the CJM.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annabeth Rosen, Installation view of ‘Fired, Broken, Gathered, Heaped.’ \u003ccite>(Photo by Gary Sexton Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s arrangement—clusters of related works separated by long risers festooned with small vessel-like sculptures—suggests a festive gathering. The banquet analogy may suggest both Judy Chicago’s powerful \u003cem>The Dinner Party\u003c/em>, with its place settings commemorating women short-changed by male-dominated history; and the more playful 1971 sculpture, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/72.38.A-CC/\" rel=\"noopener\" target=\"_blank\">Smorgi-Bob, The Cook\u003c/a>\u003c/em>, by Arneson, with its forced-perspective table of serving dishes leading to a vanishing point occupied not by Leonardo’s serene Jesus, but the young artist (his first self-portrait), the master of ceramic gastronomy.\u003c/p>\n\u003cp>Rosen’s exhibition is exciting and exhilarating, with its 120 or so works impeccably displayed. But because of the absence of labeling, it’s also somewhat difficult to absorb and navigate. The pertinent information—titles, dates, etc.—is available in binders that one can carry around, but it’s cumbersome and time-consuming. I understand the argument that labels get in the way of aesthetic engagement, and agree, to some extent, that some viewers judge work only by brand names; but let’s leave it to the viewers to decide if they want to follow the artist’s progress. Also, Rosen’s witty titles, some of which are probably invented words, are not to be missed. That quibble aside, the show groups bodies of work chronologically, giving viewers a tour of the progression of Rosen’s practice.\u003c/p>\n\u003cfigure id=\"attachment_13867891\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200.jpg\" alt=\"Installation view of 'Annabeth Rosen: Fired, Broken, Gathered, Heaped' at the Contemporary Jewish Museum, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Annabeth Rosen: Fired, Broken, Gathered, Heaped’ at the Contemporary Jewish Museum, 2019. \u003ccite>(Photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first section includes works from the 1990s upon her arrival in California from New York, with substructures resembling plates and tiles supporting dense encrustations of animal and plant life, but the geometry nearly disappears beneath the imagery, like Hindu temples swarming with statuary. \u003cem>Sample\u003c/em>, a grid of squirming, tentacular yellow forms reminiscent of noodles, kelp bulbs and split avocados, suggests a gigantic lasagna, albeit one the size of a bed or car; it is easy to spot at the rear of the gallery. \u003c/p>\n\u003cfigure id=\"attachment_13867893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640.jpg\" alt=\"Annabeth Rosen, 'Talley,' 2011.\" width=\"640\" height=\"726\" class=\"size-full wp-image-13867893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640-160x182.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Annabeth Rosen, ‘Talley,’ 2011. \u003ccite>(Photo by Lee Fatherree; Courtesy the artist; Anglim Gilbert Gallery, San Francisco; and P.P.O.W, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, ten “mashup” works abandon the pedestal format in favor of looser compositions. Rosen fabricates hundreds of ceramic forms and combines them into surprisingly anthropomorphic structures perched atop steel structures outfitted with casters—like bizarre kitchen carts or work stations. With their ungainly, bulbous, bowling-pin forms and striped patterning, the pieces \u003cem>Nella\u003c/em>, \u003cem>Rool\u003c/em> and \u003cem>Talley\u003c/em> are wonderfully absurd and exuberant.\u003c/p>\n\u003cp>In the next body of work, “mound” structures composed of hundreds of pieces were fired and refired “until failure and fatigue sets in,” to quote the museum’s text. These pieces are tied together with steel baling wire sometimes covered with clay and sometimes left visible. Twelve small mound sculptures like \u003ci>Atlas\u003c/i>, \u003ci>Block\u003c/i> and \u003ci>Fray\u003c/i>, set on a low, round pedestal, suggest miniature landscapes, or Chinese scholar stones—as well as the odd confections that might have been crafted by Chef Philip Guston (in an alternate universe).\u003c/p>\n\u003cp>Closing out the groupings are 28 works in acrylic, ink and gouache on paper that are related to the sculptures, since some are studies, but stand as independent abstract artworks.\u003c/p>\n\u003cp>This 20-year retrospective, Rosen’s first in a Bay Area museum, is both fun and funny, as well as an object lesson in creative variety within aesthetic consistency. We get to follow the progress of sensibility that is combines humor, both wacky and a little mordant, with a fearless, restless creative drive. This thrilling exhibit is a visual banquet, an embarrassment of riches, and should not to be missed. The Bay Area has another ceramic master to add to its pantheon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Annabeth Rosen: Fired, Broken, Gathered, Heaped’ is on view at the Contemporary Jewish Museum in San Francisco through Jan. 19, 2020. \u003ca href=\"https://www.thecjm.org/exhibitions/109\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Bay Area ceramicist's museum retrospective is an object lesson in creative variety within aesthetic consistency.","status":"publish","parent":0,"modified":1705022016,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":878},"headData":{"title":"At the CJM, 20 Years of Annabeth Rosen's Earthen Humor | KQED","description":"The Bay Area ceramicist's museum retrospective is an object lesson in creative variety within aesthetic consistency.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the CJM, 20 Years of Annabeth Rosen's Earthen Humor","datePublished":"2019-10-09T22:00:13.000Z","dateModified":"2024-01-12T01:13:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"DeWitt Cheng","templateType":"standard","featuredImageType":"standard","startTime":1564041600,"endTime":1579503600,"startTimeString":"July 25, 2019–Jan. 19, 2020","venueName":"Contemporary Jewish Museum","venueAddress":"736 Mission St., San Francisco","eventLink":"https://www.thecjm.org/exhibitions/109","path":"/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annabeth Rosen’s extraordinary exhibit of clay sculptures at the \u003ca href=\"https://www.thecjm.org/exhibitions/109\" rel=\"noopener\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>—single pieces resembling serving vessels, table settings and standing figures—is a virtuosic display of craftsmanship, but also of experimentation. Subtitled \u003cem>Fired, Broken, Gathered, Heaped\u003c/em>, this retrospective features thousands of ceramic fragments assembled into modestly-sized but visually and emotionally powerful composites. \u003c/p>\n\u003cp>Rosen, the Robert Arneson Professor of Ceramics at UC Davis, shares some of that Funk artist’s outré sense of humor, but she also takes from the ceramic abstract expressionist Peter Voulkos (one of her teachers) a love of clay’s versatility, physicality and malleability. I suspect also that Stephen de Staebler’s use of broken and normally discarded pieces from the kiln may have influenced her, and can easily imagine her reconstructed potsherd vessels in curatorial dialogue with his tragic, broken archaic figures. \u003c/p>\n\u003cp>Tracing these possible genealogies takes nothing from Rosen’s achievement, however. We overvalue what appears unique and novel in our era of insecure individuality and compensatory braggadocio; we should acknowledge that art transcends generations, and that the best art is voraciously informed, not willfully ignorant.\u003c/p>\n\u003cfigure id=\"attachment_13867889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200.jpg\" alt=\"Annabeth Rosen, Installation view of 'Fired, Broken, Gathered, Heaped' at the CJM.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/10.-AnnabethRosen_TheCJM_GarySexton_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annabeth Rosen, Installation view of ‘Fired, Broken, Gathered, Heaped.’ \u003ccite>(Photo by Gary Sexton Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s arrangement—clusters of related works separated by long risers festooned with small vessel-like sculptures—suggests a festive gathering. The banquet analogy may suggest both Judy Chicago’s powerful \u003cem>The Dinner Party\u003c/em>, with its place settings commemorating women short-changed by male-dominated history; and the more playful 1971 sculpture, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/72.38.A-CC/\" rel=\"noopener\" target=\"_blank\">Smorgi-Bob, The Cook\u003c/a>\u003c/em>, by Arneson, with its forced-perspective table of serving dishes leading to a vanishing point occupied not by Leonardo’s serene Jesus, but the young artist (his first self-portrait), the master of ceramic gastronomy.\u003c/p>\n\u003cp>Rosen’s exhibition is exciting and exhilarating, with its 120 or so works impeccably displayed. But because of the absence of labeling, it’s also somewhat difficult to absorb and navigate. The pertinent information—titles, dates, etc.—is available in binders that one can carry around, but it’s cumbersome and time-consuming. I understand the argument that labels get in the way of aesthetic engagement, and agree, to some extent, that some viewers judge work only by brand names; but let’s leave it to the viewers to decide if they want to follow the artist’s progress. Also, Rosen’s witty titles, some of which are probably invented words, are not to be missed. That quibble aside, the show groups bodies of work chronologically, giving viewers a tour of the progression of Rosen’s practice.\u003c/p>\n\u003cfigure id=\"attachment_13867891\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200.jpg\" alt=\"Installation view of 'Annabeth Rosen: Fired, Broken, Gathered, Heaped' at the Contemporary Jewish Museum, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/9.-AnnabethRosen_TheCJM_GarySexton_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Annabeth Rosen: Fired, Broken, Gathered, Heaped’ at the Contemporary Jewish Museum, 2019. \u003ccite>(Photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first section includes works from the 1990s upon her arrival in California from New York, with substructures resembling plates and tiles supporting dense encrustations of animal and plant life, but the geometry nearly disappears beneath the imagery, like Hindu temples swarming with statuary. \u003cem>Sample\u003c/em>, a grid of squirming, tentacular yellow forms reminiscent of noodles, kelp bulbs and split avocados, suggests a gigantic lasagna, albeit one the size of a bed or car; it is easy to spot at the rear of the gallery. \u003c/p>\n\u003cfigure id=\"attachment_13867893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640.jpg\" alt=\"Annabeth Rosen, 'Talley,' 2011.\" width=\"640\" height=\"726\" class=\"size-full wp-image-13867893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/5.-Annabeth-Rosen-TALLEY-2011_640-160x182.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Annabeth Rosen, ‘Talley,’ 2011. \u003ccite>(Photo by Lee Fatherree; Courtesy the artist; Anglim Gilbert Gallery, San Francisco; and P.P.O.W, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, ten “mashup” works abandon the pedestal format in favor of looser compositions. Rosen fabricates hundreds of ceramic forms and combines them into surprisingly anthropomorphic structures perched atop steel structures outfitted with casters—like bizarre kitchen carts or work stations. With their ungainly, bulbous, bowling-pin forms and striped patterning, the pieces \u003cem>Nella\u003c/em>, \u003cem>Rool\u003c/em> and \u003cem>Talley\u003c/em> are wonderfully absurd and exuberant.\u003c/p>\n\u003cp>In the next body of work, “mound” structures composed of hundreds of pieces were fired and refired “until failure and fatigue sets in,” to quote the museum’s text. These pieces are tied together with steel baling wire sometimes covered with clay and sometimes left visible. Twelve small mound sculptures like \u003ci>Atlas\u003c/i>, \u003ci>Block\u003c/i> and \u003ci>Fray\u003c/i>, set on a low, round pedestal, suggest miniature landscapes, or Chinese scholar stones—as well as the odd confections that might have been crafted by Chef Philip Guston (in an alternate universe).\u003c/p>\n\u003cp>Closing out the groupings are 28 works in acrylic, ink and gouache on paper that are related to the sculptures, since some are studies, but stand as independent abstract artworks.\u003c/p>\n\u003cp>This 20-year retrospective, Rosen’s first in a Bay Area museum, is both fun and funny, as well as an object lesson in creative variety within aesthetic consistency. We get to follow the progress of sensibility that is combines humor, both wacky and a little mordant, with a fearless, restless creative drive. This thrilling exhibit is a visual banquet, an embarrassment of riches, and should not to be missed. The Bay Area has another ceramic master to add to its pantheon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Annabeth Rosen: Fired, Broken, Gathered, Heaped’ is on view at the Contemporary Jewish Museum in San Francisco through Jan. 19, 2020. \u003ca href=\"https://www.thecjm.org/exhibitions/109\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867880/at-the-cjm-20-years-of-annabeth-rosens-earthen-humor","authors":["byline_arts_13867880"],"categories":["arts_70"],"tags":["arts_1787","arts_1118","arts_596","arts_769","arts_901"],"featImg":"arts_13867890","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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