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FM","link":"/"}},"arts_13854223":{"type":"posts","id":"arts_13854223","meta":{"index":"posts_1591205157","site":"arts","id":"13854223","score":null,"sort":[1554252287000]},"guestAuthors":[],"slug":"di-rosa-announces-free-days-for-napa-and-sonoma-city-residents","title":"di Rosa Announces Free Days for Napa and Sonoma City Residents","publishDate":1554252287,"format":"standard","headTitle":"di Rosa Announces Free Days for Napa and Sonoma City Residents | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Joining the ranks of \u003ca href=\"https://www.kqed.org/arts/13849706/fine-arts-museums-to-offer-free-general-admission-to-sf-residents\" rel=\"noopener\" target=\"_blank\">other Bay Area institutions\u003c/a> seeking to make their exhibitions and collections more accessible to the general public, the di Rosa Center for Contemporary Art announced today it will begin offering free admission to Napa and Sonoma city residents the first Wednesday of each month.\u003c/p>\n\u003cp>[aside postID='arts_13849706']\u003c/p>\n\u003cp>(My editor, \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">Gabe Meline\u003c/a>, would like me to take this opportunity to remind everyone that, yes, there are really cities named Napa and Sonoma. These are not only counties! And yes, people live there.)\u003c/p>\n\u003cp>Wednesday, April 3 marks the first day of this new initiative. All that’s required for free entry is an ID; the arts center is open on Wednesdays 10am–4pm. di Rosa already offers free admission to visitors age 17 and under, and to college and university faculty. Adult tickets cost $18 per visit; tickets for seniors, members of the military, non-college educators and students are slightly discounted at $15 each.\u003c/p>\n\u003cp>Currently on view at di Rosa are \u003ci>\u003ca href=\"http://www.dirosaart.org/viola-frey/\" rel=\"noopener\" target=\"_blank\">Viola Frey\u003c/a>\u003c/i>, an exhibition of the late artist’s large-scale ceramics, paintings, drawings and bronze, and \u003ci>\u003ca href=\"http://www.dirosaart.org/building-a-different-model-2/\" rel=\"noopener\" target=\"_blank\">Building a Different Model\u003c/a>\u003c/i>, a curated selection from the collection. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Beginning April 6, the di Rosa offers free admission to locals on the first Wednesday of each month.","status":"publish","parent":0,"modified":1705026383,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":196},"headData":{"title":"di Rosa Announces Free Days for Napa and Sonoma City Residents | KQED","description":"Beginning April 6, the di Rosa offers free admission to locals on the first Wednesday of each month.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"di Rosa Announces Free Days for Napa and Sonoma City Residents","datePublished":"2019-04-03T00:44:47.000Z","dateModified":"2024-01-12T02:26:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13854223/di-rosa-announces-free-days-for-napa-and-sonoma-city-residents","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joining the ranks of \u003ca href=\"https://www.kqed.org/arts/13849706/fine-arts-museums-to-offer-free-general-admission-to-sf-residents\" rel=\"noopener\" target=\"_blank\">other Bay Area institutions\u003c/a> seeking to make their exhibitions and collections more accessible to the general public, the di Rosa Center for Contemporary Art announced today it will begin offering free admission to Napa and Sonoma city residents the first Wednesday of each month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13849706","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(My editor, \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">Gabe Meline\u003c/a>, would like me to take this opportunity to remind everyone that, yes, there are really cities named Napa and Sonoma. These are not only counties! And yes, people live there.)\u003c/p>\n\u003cp>Wednesday, April 3 marks the first day of this new initiative. All that’s required for free entry is an ID; the arts center is open on Wednesdays 10am–4pm. di Rosa already offers free admission to visitors age 17 and under, and to college and university faculty. Adult tickets cost $18 per visit; tickets for seniors, members of the military, non-college educators and students are slightly discounted at $15 each.\u003c/p>\n\u003cp>Currently on view at di Rosa are \u003ci>\u003ca href=\"http://www.dirosaart.org/viola-frey/\" rel=\"noopener\" target=\"_blank\">Viola Frey\u003c/a>\u003c/i>, an exhibition of the late artist’s large-scale ceramics, paintings, drawings and bronze, and \u003ci>\u003ca href=\"http://www.dirosaart.org/building-a-different-model-2/\" rel=\"noopener\" target=\"_blank\">Building a Different Model\u003c/a>\u003c/i>, a curated selection from the collection. \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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13854223/di-rosa-announces-free-days-for-napa-and-sonoma-city-residents","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235"],"tags":["arts_2225","arts_1006","arts_1334"],"featImg":"arts_13854226","label":"arts_140"},"arts_13841205":{"type":"posts","id":"arts_13841205","meta":{"index":"posts_1591205157","site":"arts","id":"13841205","score":null,"sort":[1537470039000]},"guestAuthors":[],"slug":"curatorial-crisis-bay-area-art-institutions","title":"What Happens When All the Curators Are Gone?","publishDate":1537470039,"format":"image","headTitle":"What Happens When All the Curators Are Gone? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>[contextly_sidebar id=”1VqRTdOK9TxLY8gluVQGiZVaOgTScoiQ”]\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.","status":"publish","parent":0,"modified":1710870215,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":52,"wordCount":3000},"headData":{"title":"What Happens When All the Curators Are Gone? | KQED","description":"Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Happens When All the Curators Are Gone?","datePublished":"2018-09-20T19:00:39.000Z","dateModified":"2024-03-19T17:43:35.000Z","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/13841205/curatorial-crisis-bay-area-art-institutions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\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>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13841205/curatorial-crisis-bay-area-art-institutions","authors":["61"],"categories":["arts_74","arts_235","arts_70"],"tags":["arts_2225","arts_1118","arts_5849","arts_596","arts_3992","arts_1040"],"featImg":"arts_13841263","label":"arts"},"arts_13832785":{"type":"posts","id":"arts_13832785","meta":{"index":"posts_1591205157","site":"arts","id":"13832785","score":null,"sort":[1527102041000]},"guestAuthors":[],"slug":"summertime-snaps-where-to-find-instagrammable-public-art","title":"The 7 Most Instagrammable Public Art Spots in the Bay Area","publishDate":1527102041,"format":"image","headTitle":"The 7 Most Instagrammable Public Art Spots in the Bay Area | KQED","labelTerm":{"term":4821,"site":"arts"},"content":"\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BY3zCMuDZ9r/\u003c/p>\n\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\n\u003cp>https://www.instagram.com/p/BqxugAhHGmU/\u003c/p>\n\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\n\u003cp>https://www.instagram.com/p/BbfsUhTBoMZ/\u003c/p>\n\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bx3FnWOIh3A/\u003c/p>\n\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\n\u003cp>https://www.instagram.com/p/ti30yuwa0J/\u003c/p>\n\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bi52uVQH198/\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BZZUbJuneyA/\u003c/p>\n\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art of the Bay Area this summer.","status":"publish","parent":0,"modified":1705027792,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1018},"headData":{"title":"The 7 Most Instagrammable Public Art Spots in the Bay Area | KQED","description":"From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art of the Bay Area this summer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 7 Most Instagrammable Public Art Spots in the Bay Area","datePublished":"2018-05-23T19:00:41.000Z","dateModified":"2024-01-12T02:49:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13832785/summertime-snaps-where-to-find-instagrammable-public-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BY3zCMuDZ9r"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BqxugAhHGmU"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BbfsUhTBoMZ"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Bx3FnWOIh3A"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"ti30yuwa0J"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Bi52uVQH198"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BZZUbJuneyA"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\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/13832785/summertime-snaps-where-to-find-instagrammable-public-art","authors":["11357"],"series":["arts_4821"],"categories":["arts_1","arts_70"],"tags":["arts_2225","arts_2647","arts_1118","arts_903","arts_7455","arts_2098","arts_1143","arts_2628","arts_4894","arts_1381","arts_4903","arts_4824","arts_901"],"featImg":"arts_13858406","label":"arts_4821"},"arts_13823502":{"type":"posts","id":"arts_13823502","meta":{"index":"posts_1591205157","site":"arts","id":"13823502","score":null,"sort":[1517534919000]},"guestAuthors":[],"slug":"di-rosa-hands-programming-over-to-artists-in-uncertain-times","title":"di Rosa Hands Programming Over to Artists in 'Uncertain Times'","publishDate":1517534919,"format":"standard","headTitle":"di Rosa Hands Programming Over to Artists in ‘Uncertain Times’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>I will freely admit to accidentally driving past di Rosa’s unassuming Carneros Highway driveway on more than one occasion — at 50mph and on a long stretch of rural sameness, it was easy to miss. But that was before the Napa-area art destination rebranded as \u003ca href=\"http://www.dirosaart.org/\" rel=\"noopener\" target=\"_blank\">di Rosa Center for Contemporary Art\u003c/a>, got a new sign and painted their gate a bright, eye-catching blue.\u003c/p>\n\u003cp>The entrance isn’t the only thing that’s new. \u003ci>Be Not Still: Living in Uncertain Times\u003c/i> is the first exhibition in the newest chapter of di Rosa’s long and colorful existence — one no longer soley focused on its namesake’s extensive collection, but on artist-driven collaborations and social engagement. Gone are the metal sheep on the hillside, gone are the funk art assemblages, the massive William T. Wiley canvases, and, really, most of the collection formerly on view in the giant space of Gallery 2. (Before you panic, all that art’s not \u003ci>gone\u003c/i> gone, it’s just in storage.) \u003c/p>\n\u003cfigure id=\"attachment_13823522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg\" alt=\"Installation view of 'There's a Dark Secret in Me: Precarity, Exposure, Camouflage.'\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13823522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-520x366.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘There’s a Dark Secret in Me: Precarity, Exposure, Camouflage.’ \u003ccite>(di Rosa Center for Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this cleaning house makes way for a guest-curated exhibition on surveillance and three new artist commissions from Ala Ebtekar, Allison Smith and Rigo 23, addressing ideas of citizenship, the rise of white nationalism and the fallacy of American exceptionalism, respectively.\u003c/p>\n\u003cp>If those seem like big ideas, that’s the point. \u003c/p>\n\u003cp>But is it all too much “new” all at once? Regular and longtime visitors to the di Rosa may feel this way. (I overheard a surprised “Where’s \u003ca href=\"https://media-cdn.tripadvisor.com/media/photo-s/0c/df/51/7f/art-car.jpg\" rel=\"noopener\" target=\"_blank\">the car\u003c/a>?” at the exhibition’s press preview, likely not the first nor the last such inquiry.) But times being what they are — confusing, dystopic, fractured, rife with conflict — it’s crucial for smaller, more nimble arts spaces to address the morass of current politics and culture in their programming. \u003c/p>\n\u003cfigure id=\"attachment_13823521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg\" alt=\"Lynn Hershman Leeson, 'Constructing Roberta Breitmore,' 1975.\" width=\"640\" height=\"828\" class=\"size-full wp-image-13823521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-520x673.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Constructing Roberta Breitmore,’ 1975. \u003ccite>(di Rosa Collection, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Be Not Still\u003c/i> gently guides visitors from the familiar to the new. In Gallery 1, authors Dodie Bellamy and Kevin Killian sifted through works collected by Rene di Rosa himself (between 1950 and 2010), assembling a group show titled \u003ci>There’s a Dark Secret in Me\u003c/i>, named after a lyric in Kylie Minogue’s 2001 song “Can’t Get You Out of My Head.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Across a variety of media, their selections touch on observation, vulnerable bodies and attempts at camouflage. In Bill Owens’ photograph \u003ci>Untitled\u003c/i>, he captures a Christmas living room scene; Reagan’s face beams out of the television set, a government intruding into private space. In Carlos Villa’s \u003ci>Blue Piece\u003c/i>, figures emerge from a field of blue paper pulp, crawling out of anonymity and into individual focus. Catherine Wagner’s \u003ci>7th and 8th Grade Science Classroom, Moss Landing Elementary School\u003c/i> captures a lesson on the anatomy of an eyeball, stuffed and segmented specimens of birds on display above the blackboard.\u003c/p>\n\u003cp>“We went searching for artworks that spoke to us of unease and dispossession, tragedy and loss,” Bellamy and Killian write in their exhibition essay. The result is unsettling, possibly anxiety-inducing, but ultimately a testament to the depths of di Rosa’s collection — that the “uncertain times” of 2018 can be channeled through a group of works sometimes over half a century old.\u003c/p>\n\u003cp>Gallery 2 leaves the collection behind, but maintains the feeling of unease, rendering it contemporary. \u003c/p>\n\u003cfigure id=\"attachment_13823520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg\" alt=\"Allison Smith, 'Untitled (many sides, many sides)' and 'Untitled (blunt instruments)' in progress, 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, ‘Untitled (many sides, many sides)’ and ‘Untitled (blunt instruments)’ in progress, 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the original promotional materials for \u003ci>Be Not Still\u003c/i>, issued long before the North Bay fires delayed the exhibition’s opening by almost four months, Allison Smith’s chosen focus was listed as “North American fundamentalism,” in keeping with her practice of engaging with history through performative objects and traditional crafts. But after the violent August 2017 “Unite the Right” rally in Charlottesville and the death of counter-protester Heather Heyer, Smith turned her focus to the symbolic objects of the present.\u003c/p>\n\u003cp>In her piece \u003ci>Untitled (blunt instruments)\u003c/i>, cast bronze tiki torches lay horizontally around the base of a large-scale white pedestal. The pedestal sits statue-less, a black tarp draped over its top, just as the Robert E. Lee statue in Charlottesville is currently concealed. It’s a difficult piece to look at, and a difficult moment in recent history to attempt to contextualize, either as a viewer or an artist. “Smith aspires to historicize the present moment,” the exhibition guide says, “as a strategy to move beyond it.”\u003c/p>\n\u003cfigure id=\"attachment_13823519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg\" alt=\"Allison Smith, Detail of 'Untitled (blunt instruments),' 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, Detail of ‘Untitled (blunt instruments),’ 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rigo 23’s \u003ci>Madre Tierra (Mother Earth)\u003c/i> heightens the tension by encouraging viewers to pass through narrow passageways created by his towering white walls — vertical extrusions from a gigantic version of the American flag spread across the floor. Along one of the white walls, handwritten facts and figures chart the United States’ endless involvement in international conflict. These are the facts Rigo finds “exceptional”: the ability for a country to preach peace, equality and democracy while practicing none of the above. \u003c/p>\n\u003cp>Ala Ebtekar’s contribution to the exhibition expands the concept of “citizenship” beyond national boundaries, asking viewers to consider their roles as global citizens. In \u003ci>Luminous Ground\u003c/i>, he transfers the first ultra-deep wide field image of the universe, taken by the Hubble Space Telescope, onto square tiles made from California soil. Rendered in a cyanotype process, the field of stars shifts between macro and micro scales, sometimes resembling a Pollock-esque action painting instead of the distant night sky. It’s a hopeful, more optimistic note to end on, as long as you don’t dwell too much on the distance between an embrace of global citizenship and the current state of the world.\u003c/p>\n\u003cfigure id=\"attachment_13823518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg\" alt=\"'Luminous Ground' in progress by Ala Ebtekar.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13823518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Luminous Ground’ in progress by Ala Ebtekar. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the projects in \u003ci>Be Not Still\u003c/i> come from the artists themselves is a rare kind of institutional generosity. The structure of the year-long exhibition series (Part 2 opens with four new artists in June) places trust in visual art and artists — to address difficult issues and to spark generative conversations. These are the kinds of encounters that might bring us to a greater understanding of our own convictions, even in the midst of uncertain times.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Be Not Still: Living in Uncertain Times, Part 1’ is on view at the di Rosa Center for Contemporary Art through May 27, 2018. For more information, \u003ca href=\"http://www.dirosaart.org/be-not-still/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"With an updated mission and year-long program dedicated to tackling big ideas, di Rosa becomes a new center for artist-directed projects.","status":"publish","parent":0,"modified":1705028617,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1184},"headData":{"title":"di Rosa Hands Programming Over to Artists in 'Uncertain Times' | KQED","description":"With an updated mission and year-long program dedicated to tackling big ideas, di Rosa becomes a new center for artist-directed projects.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"di Rosa Hands Programming Over to Artists in 'Uncertain Times'","datePublished":"2018-02-02T01:28:39.000Z","dateModified":"2024-01-12T03:03:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will freely admit to accidentally driving past di Rosa’s unassuming Carneros Highway driveway on more than one occasion — at 50mph and on a long stretch of rural sameness, it was easy to miss. But that was before the Napa-area art destination rebranded as \u003ca href=\"http://www.dirosaart.org/\" rel=\"noopener\" target=\"_blank\">di Rosa Center for Contemporary Art\u003c/a>, got a new sign and painted their gate a bright, eye-catching blue.\u003c/p>\n\u003cp>The entrance isn’t the only thing that’s new. \u003ci>Be Not Still: Living in Uncertain Times\u003c/i> is the first exhibition in the newest chapter of di Rosa’s long and colorful existence — one no longer soley focused on its namesake’s extensive collection, but on artist-driven collaborations and social engagement. Gone are the metal sheep on the hillside, gone are the funk art assemblages, the massive William T. Wiley canvases, and, really, most of the collection formerly on view in the giant space of Gallery 2. (Before you panic, all that art’s not \u003ci>gone\u003c/i> gone, it’s just in storage.) \u003c/p>\n\u003cfigure id=\"attachment_13823522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg\" alt=\"Installation view of 'There's a Dark Secret in Me: Precarity, Exposure, Camouflage.'\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13823522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-520x366.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘There’s a Dark Secret in Me: Precarity, Exposure, Camouflage.’ \u003ccite>(di Rosa Center for Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this cleaning house makes way for a guest-curated exhibition on surveillance and three new artist commissions from Ala Ebtekar, Allison Smith and Rigo 23, addressing ideas of citizenship, the rise of white nationalism and the fallacy of American exceptionalism, respectively.\u003c/p>\n\u003cp>If those seem like big ideas, that’s the point. \u003c/p>\n\u003cp>But is it all too much “new” all at once? Regular and longtime visitors to the di Rosa may feel this way. (I overheard a surprised “Where’s \u003ca href=\"https://media-cdn.tripadvisor.com/media/photo-s/0c/df/51/7f/art-car.jpg\" rel=\"noopener\" target=\"_blank\">the car\u003c/a>?” at the exhibition’s press preview, likely not the first nor the last such inquiry.) But times being what they are — confusing, dystopic, fractured, rife with conflict — it’s crucial for smaller, more nimble arts spaces to address the morass of current politics and culture in their programming. \u003c/p>\n\u003cfigure id=\"attachment_13823521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg\" alt=\"Lynn Hershman Leeson, 'Constructing Roberta Breitmore,' 1975.\" width=\"640\" height=\"828\" class=\"size-full wp-image-13823521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-520x673.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Constructing Roberta Breitmore,’ 1975. \u003ccite>(di Rosa Collection, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Be Not Still\u003c/i> gently guides visitors from the familiar to the new. In Gallery 1, authors Dodie Bellamy and Kevin Killian sifted through works collected by Rene di Rosa himself (between 1950 and 2010), assembling a group show titled \u003ci>There’s a Dark Secret in Me\u003c/i>, named after a lyric in Kylie Minogue’s 2001 song “Can’t Get You Out of My Head.” \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>Across a variety of media, their selections touch on observation, vulnerable bodies and attempts at camouflage. In Bill Owens’ photograph \u003ci>Untitled\u003c/i>, he captures a Christmas living room scene; Reagan’s face beams out of the television set, a government intruding into private space. In Carlos Villa’s \u003ci>Blue Piece\u003c/i>, figures emerge from a field of blue paper pulp, crawling out of anonymity and into individual focus. Catherine Wagner’s \u003ci>7th and 8th Grade Science Classroom, Moss Landing Elementary School\u003c/i> captures a lesson on the anatomy of an eyeball, stuffed and segmented specimens of birds on display above the blackboard.\u003c/p>\n\u003cp>“We went searching for artworks that spoke to us of unease and dispossession, tragedy and loss,” Bellamy and Killian write in their exhibition essay. The result is unsettling, possibly anxiety-inducing, but ultimately a testament to the depths of di Rosa’s collection — that the “uncertain times” of 2018 can be channeled through a group of works sometimes over half a century old.\u003c/p>\n\u003cp>Gallery 2 leaves the collection behind, but maintains the feeling of unease, rendering it contemporary. \u003c/p>\n\u003cfigure id=\"attachment_13823520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg\" alt=\"Allison Smith, 'Untitled (many sides, many sides)' and 'Untitled (blunt instruments)' in progress, 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, ‘Untitled (many sides, many sides)’ and ‘Untitled (blunt instruments)’ in progress, 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the original promotional materials for \u003ci>Be Not Still\u003c/i>, issued long before the North Bay fires delayed the exhibition’s opening by almost four months, Allison Smith’s chosen focus was listed as “North American fundamentalism,” in keeping with her practice of engaging with history through performative objects and traditional crafts. But after the violent August 2017 “Unite the Right” rally in Charlottesville and the death of counter-protester Heather Heyer, Smith turned her focus to the symbolic objects of the present.\u003c/p>\n\u003cp>In her piece \u003ci>Untitled (blunt instruments)\u003c/i>, cast bronze tiki torches lay horizontally around the base of a large-scale white pedestal. The pedestal sits statue-less, a black tarp draped over its top, just as the Robert E. Lee statue in Charlottesville is currently concealed. It’s a difficult piece to look at, and a difficult moment in recent history to attempt to contextualize, either as a viewer or an artist. “Smith aspires to historicize the present moment,” the exhibition guide says, “as a strategy to move beyond it.”\u003c/p>\n\u003cfigure id=\"attachment_13823519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg\" alt=\"Allison Smith, Detail of 'Untitled (blunt instruments),' 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, Detail of ‘Untitled (blunt instruments),’ 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rigo 23’s \u003ci>Madre Tierra (Mother Earth)\u003c/i> heightens the tension by encouraging viewers to pass through narrow passageways created by his towering white walls — vertical extrusions from a gigantic version of the American flag spread across the floor. Along one of the white walls, handwritten facts and figures chart the United States’ endless involvement in international conflict. These are the facts Rigo finds “exceptional”: the ability for a country to preach peace, equality and democracy while practicing none of the above. \u003c/p>\n\u003cp>Ala Ebtekar’s contribution to the exhibition expands the concept of “citizenship” beyond national boundaries, asking viewers to consider their roles as global citizens. In \u003ci>Luminous Ground\u003c/i>, he transfers the first ultra-deep wide field image of the universe, taken by the Hubble Space Telescope, onto square tiles made from California soil. Rendered in a cyanotype process, the field of stars shifts between macro and micro scales, sometimes resembling a Pollock-esque action painting instead of the distant night sky. It’s a hopeful, more optimistic note to end on, as long as you don’t dwell too much on the distance between an embrace of global citizenship and the current state of the world.\u003c/p>\n\u003cfigure id=\"attachment_13823518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg\" alt=\"'Luminous Ground' in progress by Ala Ebtekar.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13823518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Luminous Ground’ in progress by Ala Ebtekar. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the projects in \u003ci>Be Not Still\u003c/i> come from the artists themselves is a rare kind of institutional generosity. The structure of the year-long exhibition series (Part 2 opens with four new artists in June) places trust in visual art and artists — to address difficult issues and to spark generative conversations. These are the kinds of encounters that might bring us to a greater understanding of our own convictions, even in the midst of uncertain times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ci>‘Be Not Still: Living in Uncertain Times, Part 1’ is on view at the di Rosa Center for Contemporary Art through May 27, 2018. For more information, \u003ca href=\"http://www.dirosaart.org/be-not-still/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times","authors":["61"],"categories":["arts_235","arts_70"],"tags":["arts_2225","arts_1118","arts_596","arts_769","arts_901"],"featImg":"arts_13823523","label":"arts"},"arts_13811970":{"type":"posts","id":"arts_13811970","meta":{"index":"posts_1591205157","site":"arts","id":"13811970","score":null,"sort":[1508374571000]},"guestAuthors":[],"slug":"on-the-air-cy-and-arianas-picks-do-list-picks-for-oct-20-2017","title":"On the Air: Cy and Ariana's Do List Picks for Oct. 20, 2017","publishDate":1508374571,"format":"audio","headTitle":"On the Air: Cy and Ariana’s Do List Picks for Oct. 20, 2017 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"On the Do List this week, Cy Musiker and co-host Ariana Proehl cover efforts to resume programming at North Bay Arts venues, and other shows. ","status":"publish","parent":0,"modified":1705029296,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":515},"headData":{"title":"On the Air: Cy and Ariana's Do List Picks for Oct. 20, 2017 | KQED","description":"On the Do List this week, Cy Musiker and co-host Ariana Proehl cover efforts to resume programming at North Bay Arts venues, and other shows. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Ariana's Do List Picks for Oct. 20, 2017","datePublished":"2017-10-19T00:56:11.000Z","dateModified":"2024-01-12T03:14:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/10/TheDoListforOct20.mp3","sticky":false,"path":"/arts/13811970/on-the-air-cy-and-arianas-picks-do-list-picks-for-oct-20-2017","audioDuration":485000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13811970/on-the-air-cy-and-arianas-picks-do-list-picks-for-oct-20-2017","authors":["32"],"categories":["arts_1","arts_968","arts_835","arts_966","arts_71","arts_69","arts_235","arts_75","arts_70"],"tags":["arts_879","arts_2225","arts_1118","arts_2520","arts_1006","arts_831","arts_1988","arts_6387","arts_1855","arts_596","arts_2721","arts_2822","arts_626"],"featImg":"arts_13811046","label":"arts"},"arts_13807008":{"type":"posts","id":"arts_13807008","meta":{"index":"posts_1591205157","site":"arts","id":"13807008","score":null,"sort":[1504180858000]},"guestAuthors":[],"slug":"on-the-air-cy-rachael-and-gabes-do-list-picks-for-sept-1-2017","title":"On the Air: Cy, Rachael and Gabe's Do List Picks for Sept. 1, 2017","publishDate":1504180858,"format":"audio","headTitle":"On the Air: Cy, Rachael and Gabe’s Do List Picks for Sept. 1, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"A highly selective fall arts preview from The Do List, focusing on music, dance, and the visual arts.","status":"publish","parent":0,"modified":1705029646,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":339},"headData":{"title":"On the Air: Cy, Rachael and Gabe's Do List Picks for Sept. 1, 2017 | KQED","description":"A highly selective fall arts preview from The Do List, focusing on music, dance, and the visual arts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy, Rachael and Gabe's Do List Picks for Sept. 1, 2017","datePublished":"2017-08-31T12:00:58.000Z","dateModified":"2024-01-12T03:20:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/08/TheDoListSept12017.mp3","sticky":false,"path":"/arts/13807008/on-the-air-cy-rachael-and-gabes-do-list-picks-for-sept-1-2017","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\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>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807008/on-the-air-cy-rachael-and-gabes-do-list-picks-for-sept-1-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_2225","arts_1118","arts_1006","arts_3648","arts_596","arts_1071","arts_1367","arts_2238","arts_626"],"featImg":"arts_13806968","label":"arts_140"},"arts_13806918":{"type":"posts","id":"arts_13806918","meta":{"index":"posts_1591205157","site":"arts","id":"13806918","score":null,"sort":[1504144514000]},"guestAuthors":[],"slug":"be-not-still-di-rosa","title":"Speaking Loudly with Art","publishDate":1504144514,"format":"standard","headTitle":"Speaking Loudly with Art | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The di Rosa in Napa, a gorgeous gallery set in the vineyards of southern Napa, is confronting some of the biggest issues of our age in a new show called \u003cem>Be Not Still: Living in Uncertain Times\u003c/em>. Commissioning a number of Bay Area artists to present new work on the themes of citizenship, manifest destiny, and American exceptionalism, the di Rosa has invited what seems an artistic response to the right-wing politics of the Trump administration. \u003cem>Be Not Still\u003c/em> comes to the di Rosa Museum Nov. 4, and continues through May 27. \u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The di Rosa confronts American exceptionalism in the first of a set of commissions on our age of anxiety.","status":"publish","parent":0,"modified":1705029654,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":98},"headData":{"title":"Speaking Loudly with Art | KQED","description":"The di Rosa confronts American exceptionalism in the first of a set of commissions on our age of anxiety.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Speaking Loudly with Art","datePublished":"2017-08-31T01:55:14.000Z","dateModified":"2024-01-12T03:20:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13806918/be-not-still-di-rosa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The di Rosa in Napa, a gorgeous gallery set in the vineyards of southern Napa, is confronting some of the biggest issues of our age in a new show called \u003cem>Be Not Still: Living in Uncertain Times\u003c/em>. Commissioning a number of Bay Area artists to present new work on the themes of citizenship, manifest destiny, and American exceptionalism, the di Rosa has invited what seems an artistic response to the right-wing politics of the Trump administration. \u003cem>Be Not Still\u003c/em> comes to the di Rosa Museum Nov. 4, and continues through May 27. \u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a> \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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13806918/be-not-still-di-rosa","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_71","arts_235","arts_70"],"tags":["arts_2225","arts_1118","arts_1006","arts_596","arts_626","arts_901"],"featImg":"arts_13806841","label":"arts_140"},"arts_13806789":{"type":"posts","id":"arts_13806789","meta":{"index":"posts_1591205157","site":"arts","id":"13806789","score":null,"sort":[1504105256000]},"guestAuthors":[],"slug":"hope-comes-to-the-fore-6-visual-arts-shows-to-see-this-fall","title":"Hope Comes to the Fore: 6 Visual Art Shows to See This Fall","publishDate":1504105256,"format":"image","headTitle":"Hope Comes to the Fore: 6 Visual Art Shows to See This Fall | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Remember when all we could talk about was how 2016 had been really rough? \u003ci>We can’t wait for this year to end\u003c/i>, we said. \u003ci>Surely whatever comes next will be better — less heartbreaking, less depressing, less frantic\u003c/i>. \u003ca href=\"http://knowyourmeme.com/memes/you-know-nothing-jon-snow\" target=\"_blank\" rel=\"noopener\">Like Jon Snow, we knew nothing\u003c/a>. \u003c/p>\n\u003cp>Defining the role art has to play in the midst of national, social and political upheaval is a task for more robust minds, with fewer deadlines on their hands. But in my survey of the Bay Area’s fall season, it’s heartening to see many institutions grappling with the same questions, along with local artists getting major museum love and artistic reminders of hope coming to the fore.\u003c/p>\n\u003cfigure id=\"attachment_13806843\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg\" alt=\"Jerry at work on 'Two Tails and Two Tales,' Shandaken Project at Storm King, NY, 2017.\" width=\"640\" height=\"427\" class=\"size-full wp-image-13806843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jerry at work on ‘Two Tails and Two Tales,’ Shandaken Project at Storm King, NY, 2017. \u003ccite>(Courtesy of the artist and Situations, New York; photo by Nick Weist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://projects2ndfloor.blogspot.com/2017/08/blog-post.html\" target=\"_blank\" rel=\"noopener\">Frank Haines, Jerry the Marble Faun, Astria Suparak\u003c/a>\u003c/h3>\n\u003ch5>2nd floor projects at Luggage Store Annex, 509 Ellis Street, San Francisco\u003cbr>\nSept. 8 – Oct. 14, 2017\u003c/h5>\n\u003cp>The venerable artist-run gallery 2nd floor projects isn’t one for fanfare. Exhibitions don’t have titles, two to three artists hang alongside one another without complicated curatorial conceits, a limited edition chapbook accompanies each show. But fanfare or not, 2nd floor projects is 10 years old, and in typical understated fashion, is “simply marking” that nice round number with an offsite pop-up show. (Regulars will thrill at the thought of more gallery hours!) New York-based artists Frank Haines and Jerry the Marble Faun promise works in stained glass and marble, respectively, and Astria Suparak, co-curator of YBCA’s 2014 exhibition \u003ci>Alien She\u003c/i>, provides this show’s batch of finely wrought words. (Bonus prize: Jessica Silverman Gallery opens \u003ci>\u003ca href=\"http://jessicasilvermangallery.com/exhibitions/pussies/\" target=\"_blank\" rel=\"noopener\">Judy Chicago’s Pussies\u003c/a>\u003c/i> across the street the very same night.)\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806842\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg\" alt=\"Martin Wong, 'El Caribe,' 1988.\" width=\"640\" height=\"535\" class=\"size-full wp-image-13806842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-520x435.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘El Caribe,’ 1988. \u003ccite>(Collection of Francisco Hernandez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Martin Wong: Human Instamatic\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nSept. 13 – Dec.10, 2017\u003c/h5>\n\u003cp>I’m humbled to admit I never heard of the late artist Martin Wong until CCA’s 2015 Curatorial Practice class organized the first expansive and cross-media exhibition of his work in San Francisco, whetting my appetite for BAMPFA’s retrospective two years later. In many ways, the Wattis show was a re-introduction between artist and city. Wong grew up in San Francisco, attended UC Berkeley and Humboldt State, studied ceramics, made scroll poems and designed theatrical sets for groups like the Cockettes and Angels of Light. He also died here — returning home with AIDS in 1994 after prolific decades spent making work alongside the Nuyorican poets and graffiti artists of 1970s and 80s New York. Similarly, \u003ci>Martin Wong: Human Instamatic\u003c/i> comes to BAMPFA after time spent away: at the Bronx Museum and Wexner Center for the Arts. The show of Wong’s dense, symbol-laden paintings of New York street scenes, motorcycle-riding men and commanding eight-balls is at once a triumphant homecoming and a second chance for audiences who didn’t even realize what they’ve been missing all along. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806845\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment' project, 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13806845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment’ project, 2010–ongoing. \u003ccite>(Collection of Nion McEvoy, San Francisco; Image courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"https://museum.stanford.edu/view/GetCuriouser.html\" target=\"_blank\" rel=\"noopener\">Nina Katchadourian, \u003ci>Curiouser\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Cantor Arts Center, Stanford\u003cbr>\nSept. 15, 2017 – Jan. 7, 2018\u003c/h5>\n\u003cp>Brooklyn and Berlin-based Nina Katchadourian may be a familiar name to those who’ve visited her solo shows over the years at \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catharine Clark Gallery\u003c/a>, but now’s the chance to take in a much-larger portion of her inventive, playful and always-smart work. Her mid-career survey comes to the Cantor from Austin’s Blanton Museum of Art, showcasing projects like \u003ci>Seat Assignment\u003c/i> (pieces made on airplanes using only in-flight materials) and \u003ci>Accent Elimination\u003c/i> (a video in which Katchadourian and her parents attempt to learn each other’s accents). In need of further convincing that you’ll enjoy Katchadourian’s weird and wonderful sensibility in video, photography, sculpture and sound? Look no further than \u003ci>\u003ca href=\"https://youtu.be/bpfbbolyOKY\" target=\"_blank\" rel=\"noopener\">Skymall Kitties\u003c/a>\u003c/i>, and don’t blame me when a certain tune gets lodged, quite pleasantly, in your brain.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806848\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg\" alt=\"M. Louise Stanley, 'Casting Call for Cautionary Tales,' 2017.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13806848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">M. Louise Stanley, ‘Casting Call for Cautionary Tales,’ 2017. \u003ccite>(Courtesy of the artist; Photo by Kim Harrington.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Jewish Folktales Retold: Artist as Maggid\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Contemporary Jewish Museum, San Francisco\u003cbr>\nSept. 28, 2017 – Jan. 28, 2018\u003c/h5>\n\u003cp>In recent years, the CJM has made a practice of introducing traditional elements of Judaism as the conceptual basis for exciting new art commissions. \u003ci>Artist as Maggid\u003c/i> continues this trend, inviting 16 artists to respond to selected tales from Jewish folklore in the media of their choosing. And if the curatorial underpinnings didn’t sound intriguing enough, the line-up of (mostly) local artists is a veritable who’s who of people with interesting material ways of telling stories, including Michael Arcega, Julia Goodman, Mads Lynnerup, Mike Rothfeld, and Youngsuk Suh and Katie Peterson.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806847\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg\" alt=\"Harun Farocki, 'Deep Play' (video still), 2007.\" width=\"640\" height=\"512\" class=\"size-full wp-image-13806847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-520x416.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harun Farocki, ‘Deep Play’ (video still), 2007. \u003ccite>(Courtesy of Harun Farocki GbR and Greene Naftali Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.wattis.org/view?id=463\" target=\"_blank\" rel=\"noopener\">Mechanisms\u003c/a>\u003ci>\u003c/i>\u003c/i>\u003c/h3>\n\u003ch5>The Wattis Institute, San Francisco\u003cbr>\nOct. 12, 2017 – Feb. 24, 2018\u003c/h5>\n\u003cp>In these parts, art and technology get paired up on the regular, reinforcing the false binary the very words have come to represent. On art’s side: artists, affordable housing, the city’s creative soul. And for technology: tech workers, the housing crisis, venture capitalism run rampant. But Wattis director Anthony Huberman has managed to turn this old and tired juxtaposition into an exhibition that looks at technology not as a local industry, but as a group of machines — objects, devices, systems and infrastructure. And does so in a large-scale group exhibition with surprising inclusions — Jay DeFeo and Louise Lawler, to name two. In \u003ci>Mechanisms\u003c/i>, art doesn’t merge with machines courtesy of a plus sign or an ampersand, it gums up the gears, calls attention to efforts towards efficiency and critiques the very mechanisms that make it.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806841\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg\" alt=\"Ala Ebtekar, 'Zenith (IV),' 2015.\" width=\"640\" height=\"344\" class=\"size-full wp-image-13806841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-520x280.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, ‘Zenith (IV),’ 2015. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times (Part 1)\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>di Rosa, Napa\u003cbr>\nNov. 4, 2017 – May 27, 2018\u003c/h5>\n\u003cp>The di Rosa launches a new two-part exhibition series to directly address the ever-more-pressing concerns of the present with “experimentation and inquiry.” This marks the first exhibition in the di Rosa’s new configuration — the large Main Gallery houses newly commissioned works by Ala Ebtekar (on citizenship), Rigo 23 (on American exceptionalism) and Allison Smith (on North American fundamentalism), while the Gatehouse Gallery features items from the permanent collection curated by Dodie Bellamy and Kevin Killian (on surveillance). While most di Rosa shows of the past spanned just three to four months, \u003ci>Be Not Still\u003c/i> stays put for half a year — leaving you no excuse for not seeing it and ample time for the arts center to dig deep into its education programs, including a collaborative project with the Boys & Girls Clubs of Napa Valley.\u003c/p>\u003c/div>\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=\"alignleft 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>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A new art season finds institutions responding to national upheaval, supporting local artists and providing you with ample opportunities to seek out great art.","status":"publish","parent":0,"modified":1705029666,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":1215},"headData":{"title":"Hope Comes to the Fore: 6 Visual Art Shows to See This Fall | KQED","description":"A new art season finds institutions responding to national upheaval, supporting local artists and providing you with ample opportunities to seek out great art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hope Comes to the Fore: 6 Visual Art Shows to See This Fall","datePublished":"2017-08-30T15:00:56.000Z","dateModified":"2024-01-12T03:21:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13806789/hope-comes-to-the-fore-6-visual-arts-shows-to-see-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when all we could talk about was how 2016 had been really rough? \u003ci>We can’t wait for this year to end\u003c/i>, we said. \u003ci>Surely whatever comes next will be better — less heartbreaking, less depressing, less frantic\u003c/i>. \u003ca href=\"http://knowyourmeme.com/memes/you-know-nothing-jon-snow\" target=\"_blank\" rel=\"noopener\">Like Jon Snow, we knew nothing\u003c/a>. \u003c/p>\n\u003cp>Defining the role art has to play in the midst of national, social and political upheaval is a task for more robust minds, with fewer deadlines on their hands. But in my survey of the Bay Area’s fall season, it’s heartening to see many institutions grappling with the same questions, along with local artists getting major museum love and artistic reminders of hope coming to the fore.\u003c/p>\n\u003cfigure id=\"attachment_13806843\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg\" alt=\"Jerry at work on 'Two Tails and Two Tales,' Shandaken Project at Storm King, NY, 2017.\" width=\"640\" height=\"427\" class=\"size-full wp-image-13806843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jerry_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jerry at work on ‘Two Tails and Two Tales,’ Shandaken Project at Storm King, NY, 2017. \u003ccite>(Courtesy of the artist and Situations, New York; photo by Nick Weist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://projects2ndfloor.blogspot.com/2017/08/blog-post.html\" target=\"_blank\" rel=\"noopener\">Frank Haines, Jerry the Marble Faun, Astria Suparak\u003c/a>\u003c/h3>\n\u003ch5>2nd floor projects at Luggage Store Annex, 509 Ellis Street, San Francisco\u003cbr>\nSept. 8 – Oct. 14, 2017\u003c/h5>\n\u003cp>The venerable artist-run gallery 2nd floor projects isn’t one for fanfare. Exhibitions don’t have titles, two to three artists hang alongside one another without complicated curatorial conceits, a limited edition chapbook accompanies each show. But fanfare or not, 2nd floor projects is 10 years old, and in typical understated fashion, is “simply marking” that nice round number with an offsite pop-up show. (Regulars will thrill at the thought of more gallery hours!) New York-based artists Frank Haines and Jerry the Marble Faun promise works in stained glass and marble, respectively, and Astria Suparak, co-curator of YBCA’s 2014 exhibition \u003ci>Alien She\u003c/i>, provides this show’s batch of finely wrought words. (Bonus prize: Jessica Silverman Gallery opens \u003ci>\u003ca href=\"http://jessicasilvermangallery.com/exhibitions/pussies/\" target=\"_blank\" rel=\"noopener\">Judy Chicago’s Pussies\u003c/a>\u003c/i> across the street the very same night.)\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806842\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg\" alt=\"Martin Wong, 'El Caribe,' 1988.\" width=\"640\" height=\"535\" class=\"size-full wp-image-13806842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/El-Caribe_640-520x435.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘El Caribe,’ 1988. \u003ccite>(Collection of Francisco Hernandez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Martin Wong: Human Instamatic\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nSept. 13 – Dec.10, 2017\u003c/h5>\n\u003cp>I’m humbled to admit I never heard of the late artist Martin Wong until CCA’s 2015 Curatorial Practice class organized the first expansive and cross-media exhibition of his work in San Francisco, whetting my appetite for BAMPFA’s retrospective two years later. In many ways, the Wattis show was a re-introduction between artist and city. Wong grew up in San Francisco, attended UC Berkeley and Humboldt State, studied ceramics, made scroll poems and designed theatrical sets for groups like the Cockettes and Angels of Light. He also died here — returning home with AIDS in 1994 after prolific decades spent making work alongside the Nuyorican poets and graffiti artists of 1970s and 80s New York. Similarly, \u003ci>Martin Wong: Human Instamatic\u003c/i> comes to BAMPFA after time spent away: at the Bronx Museum and Wexner Center for the Arts. The show of Wong’s dense, symbol-laden paintings of New York street scenes, motorcycle-riding men and commanding eight-balls is at once a triumphant homecoming and a second chance for audiences who didn’t even realize what they’ve been missing all along. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806845\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment' project, 2010–ongoing.\" width=\"640\" height=\"758\" class=\"size-full wp-image-13806845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Katchadourian_Flemish_640-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait\u003cbr>in the Flemish Style #12.’ From ‘Seat Assignment’ project, 2010–ongoing. \u003ccite>(Collection of Nion McEvoy, San Francisco; Image courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"https://museum.stanford.edu/view/GetCuriouser.html\" target=\"_blank\" rel=\"noopener\">Nina Katchadourian, \u003ci>Curiouser\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Cantor Arts Center, Stanford\u003cbr>\nSept. 15, 2017 – Jan. 7, 2018\u003c/h5>\n\u003cp>Brooklyn and Berlin-based Nina Katchadourian may be a familiar name to those who’ve visited her solo shows over the years at \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catharine Clark Gallery\u003c/a>, but now’s the chance to take in a much-larger portion of her inventive, playful and always-smart work. Her mid-career survey comes to the Cantor from Austin’s Blanton Museum of Art, showcasing projects like \u003ci>Seat Assignment\u003c/i> (pieces made on airplanes using only in-flight materials) and \u003ci>Accent Elimination\u003c/i> (a video in which Katchadourian and her parents attempt to learn each other’s accents). In need of further convincing that you’ll enjoy Katchadourian’s weird and wonderful sensibility in video, photography, sculpture and sound? Look no further than \u003ci>\u003ca href=\"https://youtu.be/bpfbbolyOKY\" target=\"_blank\" rel=\"noopener\">Skymall Kitties\u003c/a>\u003c/i>, and don’t blame me when a certain tune gets lodged, quite pleasantly, in your brain.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806848\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg\" alt=\"M. Louise Stanley, 'Casting Call for Cautionary Tales,' 2017.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13806848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/JFR_MLouiseStanley_CastingCallForCautionaryTales_640-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">M. Louise Stanley, ‘Casting Call for Cautionary Tales,’ 2017. \u003ccite>(Courtesy of the artist; Photo by Kim Harrington.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Jewish Folktales Retold: Artist as Maggid\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Contemporary Jewish Museum, San Francisco\u003cbr>\nSept. 28, 2017 – Jan. 28, 2018\u003c/h5>\n\u003cp>In recent years, the CJM has made a practice of introducing traditional elements of Judaism as the conceptual basis for exciting new art commissions. \u003ci>Artist as Maggid\u003c/i> continues this trend, inviting 16 artists to respond to selected tales from Jewish folklore in the media of their choosing. And if the curatorial underpinnings didn’t sound intriguing enough, the line-up of (mostly) local artists is a veritable who’s who of people with interesting material ways of telling stories, including Michael Arcega, Julia Goodman, Mads Lynnerup, Mike Rothfeld, and Youngsuk Suh and Katie Peterson.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806847\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg\" alt=\"Harun Farocki, 'Deep Play' (video still), 2007.\" width=\"640\" height=\"512\" class=\"size-full wp-image-13806847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mechanisms_FAROCKI_640-520x416.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harun Farocki, ‘Deep Play’ (video still), 2007. \u003ccite>(Courtesy of Harun Farocki GbR and Greene Naftali Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.wattis.org/view?id=463\" target=\"_blank\" rel=\"noopener\">Mechanisms\u003c/a>\u003ci>\u003c/i>\u003c/i>\u003c/h3>\n\u003ch5>The Wattis Institute, San Francisco\u003cbr>\nOct. 12, 2017 – Feb. 24, 2018\u003c/h5>\n\u003cp>In these parts, art and technology get paired up on the regular, reinforcing the false binary the very words have come to represent. On art’s side: artists, affordable housing, the city’s creative soul. And for technology: tech workers, the housing crisis, venture capitalism run rampant. But Wattis director Anthony Huberman has managed to turn this old and tired juxtaposition into an exhibition that looks at technology not as a local industry, but as a group of machines — objects, devices, systems and infrastructure. And does so in a large-scale group exhibition with surprising inclusions — Jay DeFeo and Louise Lawler, to name two. In \u003ci>Mechanisms\u003c/i>, art doesn’t merge with machines courtesy of a plus sign or an ampersand, it gums up the gears, calls attention to efforts towards efficiency and critiques the very mechanisms that make it.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13806841\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg\" alt=\"Ala Ebtekar, 'Zenith (IV),' 2015.\" width=\"640\" height=\"344\" class=\"size-full wp-image-13806841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Ala-Ebtekar_640-520x280.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, ‘Zenith (IV),’ 2015. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.dirosaart.org/be-not-still/\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times (Part 1)\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>di Rosa, Napa\u003cbr>\nNov. 4, 2017 – May 27, 2018\u003c/h5>\n\u003cp>The di Rosa launches a new two-part exhibition series to directly address the ever-more-pressing concerns of the present with “experimentation and inquiry.” This marks the first exhibition in the di Rosa’s new configuration — the large Main Gallery houses newly commissioned works by Ala Ebtekar (on citizenship), Rigo 23 (on American exceptionalism) and Allison Smith (on North American fundamentalism), while the Gatehouse Gallery features items from the permanent collection curated by Dodie Bellamy and Kevin Killian (on surveillance). While most di Rosa shows of the past spanned just three to four months, \u003ci>Be Not Still\u003c/i> stays put for half a year — leaving you no excuse for not seeing it and ample time for the arts center to dig deep into its education programs, including a collaborative project with the Boys & Girls Clubs of Napa Valley.\u003c/p>\u003c/div>\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=\"alignleft 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>\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>\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/13806789/hope-comes-to-the-fore-6-visual-arts-shows-to-see-this-fall","authors":["61"],"categories":["arts_70"],"tags":["arts_2227","arts_1787","arts_2225","arts_1118","arts_3649","arts_1006","arts_3648","arts_596"],"featImg":"arts_13806844","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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. 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Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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