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"title": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall",
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"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",
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"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.",
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"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.",
"title": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall | KQED",
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"headline": "Hope Comes to the Fore: 6 Visual Art Shows to See This Fall",
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"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>",
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"content": "\u003cp>Desirée Holman’s solo exhibition at di Rosa’s Gatehouse Gallery prompts, among other things, a deep tumble down that rabbit hole known as the internet. Citing figures from the history of spiritual mysticism while displaying pseudo-technological sculptures, her work makes an argument for the intersection of New Age and tech culture. The Bay Area is ground zero for both movements, and yet they exist at a remove from each other, approximately the distance of a ten foot pole. In works on paper, sculpture, video, and performance, Holman creates a world of weird harmony between science, science fiction, the past, and the future.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136298 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\" alt=\"\" width=\"796\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-300x168.jpg 300w\" sizes=\"auto, (max-width: 796px) 100vw, 796px\">\u003c/a>\u003c/p>\n\u003cp>The night of the opening reception, five ethereal figures stood at the lip of the di Rosa’s lake. Evenly dispersed, they enacted a repeated set of movements, described in the exhibition brochure as “choreography inspired by science fiction films, spiritual dance forms and yoga asanas.” This teaser of a large-scale performance scheduled for June 28 was mesmerizing. Their gestures were equally welcoming, equally alien.\u003c/p>\n\u003cp>The figures represented just some of the characters who will roam the di Rosa landscape come June. The Ecstatic Dancer uses improvisational moves to express spiritual belief and looks like a member of the Merce Cunningham Dance Company. The Time Traveler wears a psionic helmet (often made of discarded kitchenware) and represents a bridge between the classic tinfoil-wearing loony and our contemporary cadre of Google Glass enthusiasts. The Indigo Child, with her bright blue aura, is extremely empathetic and intelligent; she is a precursor to the next level of humanity and a true \u003cem>sophont\u003c/em> (a term borrowed from science fiction).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in her previous research-based projects, Holman gives physical shape to lesser-known communities and their unique forms of expression, utilizing role-playing, costume, and dance to enact alternative and often empowering identities. The ideas represented within \u003cstrong>Sophont in Action\u003c/strong> are abstract and spacey, but once combined, make perfect sense. Each drawing, painting, sculpture and video shows evidence of the hand, paying homage to ideas of self-actualization and individual innovation, cornerstones (respectively) of New Age culture and technological entrepreneurship.\u003c/p>\n\u003cp>The exhibition traces the lineage of contemporary movements to the occult investigations of the past. A series of aura works feature the familiar rainbow cloud sans subject, triggering the start of the aforementioned internet search. Names like Annie Besant, Aleister Crowley, Edgar Cayce, Franz Mesmer, Helena Blavatskyn, and Norbert Wiener cover subjects from theosophy to magic and futurism to mathematics, from the 18th century to the 20th. Holman indulges in a little creative license, fashioning her own versions of these historical figures’ multi-hued “frequencies.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Her \u003cem>Channelling Aura\u003c/em> series places a masked figure in the midst of the aura, questioning the veracity of the imaging. Does the aura represent the hidden human identity or the costume-shop extraterrestrial? Alien faces bridge the gap between individual aura and an expanded view of the universe. In ten acrylic works, Holman depicts a variety of dazzling spacescapes made from a combination of real and fictionalized views of the cosmos, full of glittering stars and dusty nebulas. \u003cem>Outer Space 2\u003c/em> features a brain-like formation of orange clouds, a fitting companion to the aura set. \u003cem>Outer Space 5\u003c/em> is more violent, with large airbrushed starbursts punctuating the panel surface.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Dispersed throughout the Gatehouse Gallery, mixed media sculptures on custom pedestals show a combination of identifiable objects (hearing aids, a chandelier), cast and painted hands, electronics, and smooth, abstract head forms. The \u003cem>Psionics\u003c/em> are humorous props for the figures in Holman’s performances and drawings, tools to aid time travel, prevent mind-reading, or do whatever future inventors might dream of doing. Sporadically, the sculptures light up, move ever so slightly, and encourage sustained viewing.\u003c/p>\n\u003cp>A multi-channel video piece appears on monitors scattered around the show, previewing the three-channel video installation that has its own room: \u003cem>Close Contact 2\u003c/em>. In subtle shifts of color and shape, the video creates an otherworldly atmosphere akin to Jeremy Blake’s more abstract works. At one moment, an alien face appeared in the mist, but disappeared just fast enough for me to question the accuracy of my vision.\u003c/p>\n\u003cfigure id=\"attachment_10136301\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg\" alt=\"Desirée Holman\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10136301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003cp>In repetition (of titles, subject matter, and form), Holman hints at the many interpretations natural phenomena engender. Whether we choose to gaze at the night sky as an invitation to explore beyond our physical limitations, or peer inside for spiritual guidance, both impulses are rooted in curiosity. Holman’s investigations into the weird, unrooted, and most fantastical of subject matter imbue her chosen communities with gravitas and agency. Bridging the gap between techno futurism and New Age culture, \u003cb>Sophont in Action\u003c/b> provides a utopian meeting ground for two opposing parties in the current discourse on the Bay Area’s future. Perhaps a live performance by members of the di Rosa’s local community will help pave the way towards visualizing (and enacting) a shared harmonious future, unitards and kitchenware headgear included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sophont in Action\u003c/strong> is on view at di Rosa’s Gatehouse Gallery through July 20, 2014. A live performance will take place Saturday, June 28, 7-9:30pm, and an artist talk with cultural critic Erik Davis is scheduled for Thursday, July 10, 7pm. For \u003ca href=\"http://www.dirosaart.org\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit dirosaart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Desirée Holman’s solo exhibition at di Rosa’s Gatehouse Gallery prompts, among other things, a deep tumble down that rabbit hole known as the internet. Citing figures from the history of spiritual mysticism while displaying pseudo-technological sculptures, her work makes an argument for the intersection of New Age and tech culture. The Bay Area is ground zero for both movements, and yet they exist at a remove from each other, approximately the distance of a ten foot pole. In works on paper, sculpture, video, and performance, Holman creates a world of weird harmony between science, science fiction, the past, and the future.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136298 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\" alt=\"\" width=\"796\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-300x168.jpg 300w\" sizes=\"auto, (max-width: 796px) 100vw, 796px\">\u003c/a>\u003c/p>\n\u003cp>The night of the opening reception, five ethereal figures stood at the lip of the di Rosa’s lake. Evenly dispersed, they enacted a repeated set of movements, described in the exhibition brochure as “choreography inspired by science fiction films, spiritual dance forms and yoga asanas.” This teaser of a large-scale performance scheduled for June 28 was mesmerizing. Their gestures were equally welcoming, equally alien.\u003c/p>\n\u003cp>The figures represented just some of the characters who will roam the di Rosa landscape come June. The Ecstatic Dancer uses improvisational moves to express spiritual belief and looks like a member of the Merce Cunningham Dance Company. The Time Traveler wears a psionic helmet (often made of discarded kitchenware) and represents a bridge between the classic tinfoil-wearing loony and our contemporary cadre of Google Glass enthusiasts. The Indigo Child, with her bright blue aura, is extremely empathetic and intelligent; she is a precursor to the next level of humanity and a true \u003cem>sophont\u003c/em> (a term borrowed from science fiction).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in her previous research-based projects, Holman gives physical shape to lesser-known communities and their unique forms of expression, utilizing role-playing, costume, and dance to enact alternative and often empowering identities. The ideas represented within \u003cstrong>Sophont in Action\u003c/strong> are abstract and spacey, but once combined, make perfect sense. Each drawing, painting, sculpture and video shows evidence of the hand, paying homage to ideas of self-actualization and individual innovation, cornerstones (respectively) of New Age culture and technological entrepreneurship.\u003c/p>\n\u003cp>The exhibition traces the lineage of contemporary movements to the occult investigations of the past. A series of aura works feature the familiar rainbow cloud sans subject, triggering the start of the aforementioned internet search. Names like Annie Besant, Aleister Crowley, Edgar Cayce, Franz Mesmer, Helena Blavatskyn, and Norbert Wiener cover subjects from theosophy to magic and futurism to mathematics, from the 18th century to the 20th. Holman indulges in a little creative license, fashioning her own versions of these historical figures’ multi-hued “frequencies.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Her \u003cem>Channelling Aura\u003c/em> series places a masked figure in the midst of the aura, questioning the veracity of the imaging. Does the aura represent the hidden human identity or the costume-shop extraterrestrial? Alien faces bridge the gap between individual aura and an expanded view of the universe. In ten acrylic works, Holman depicts a variety of dazzling spacescapes made from a combination of real and fictionalized views of the cosmos, full of glittering stars and dusty nebulas. \u003cem>Outer Space 2\u003c/em> features a brain-like formation of orange clouds, a fitting companion to the aura set. \u003cem>Outer Space 5\u003c/em> is more violent, with large airbrushed starbursts punctuating the panel surface.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Dispersed throughout the Gatehouse Gallery, mixed media sculptures on custom pedestals show a combination of identifiable objects (hearing aids, a chandelier), cast and painted hands, electronics, and smooth, abstract head forms. The \u003cem>Psionics\u003c/em> are humorous props for the figures in Holman’s performances and drawings, tools to aid time travel, prevent mind-reading, or do whatever future inventors might dream of doing. Sporadically, the sculptures light up, move ever so slightly, and encourage sustained viewing.\u003c/p>\n\u003cp>A multi-channel video piece appears on monitors scattered around the show, previewing the three-channel video installation that has its own room: \u003cem>Close Contact 2\u003c/em>. In subtle shifts of color and shape, the video creates an otherworldly atmosphere akin to Jeremy Blake’s more abstract works. At one moment, an alien face appeared in the mist, but disappeared just fast enough for me to question the accuracy of my vision.\u003c/p>\n\u003cfigure id=\"attachment_10136301\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg\" alt=\"Desirée Holman\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10136301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003cp>In repetition (of titles, subject matter, and form), Holman hints at the many interpretations natural phenomena engender. Whether we choose to gaze at the night sky as an invitation to explore beyond our physical limitations, or peer inside for spiritual guidance, both impulses are rooted in curiosity. Holman’s investigations into the weird, unrooted, and most fantastical of subject matter imbue her chosen communities with gravitas and agency. Bridging the gap between techno futurism and New Age culture, \u003cb>Sophont in Action\u003c/b> provides a utopian meeting ground for two opposing parties in the current discourse on the Bay Area’s future. Perhaps a live performance by members of the di Rosa’s local community will help pave the way towards visualizing (and enacting) a shared harmonious future, unitards and kitchenware headgear included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sophont in Action\u003c/strong> is on view at di Rosa’s Gatehouse Gallery through July 20, 2014. A live performance will take place Saturday, June 28, 7-9:30pm, and an artist talk with cultural critic Erik Davis is scheduled for Thursday, July 10, 7pm. For \u003ca href=\"http://www.dirosaart.org\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit dirosaart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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