Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures
At Interface, Two Photographers Translate Light into Solid Forms
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In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"},"rseikaly":{"type":"authors","id":"77","meta":{"index":"authors_1591205172","id":"77","found":true},"name":"Roula Seikaly","firstName":"Roula","lastName":"Seikaly","slug":"rseikaly","email":"roula@roulaseikaly.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Roula Seikaly in an independent writer and curator based in Berkeley, California, and Senior Editor at \u003ca href=\"http://hafny.org/\">Humble Arts Foundation\u003c/a>. She has curated exhibitions at Colorado Photographic Arts Center, Filter Photo Festival, Blue Sky Gallery, SF Camerawork, SOMArts, and the Utah Museum of Arts. She is a regular contributor to Photograph, Hyerallergic, BOMB Magazine, and KQED Arts.","avatar":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]}],"headData":{"title":"Roula Seikaly | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rseikaly"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13886814":{"type":"posts","id":"arts_13886814","meta":{"index":"posts_1591205157","site":"arts","id":"13886814","score":null,"sort":[1600971651000]},"guestAuthors":[],"slug":"interface-marks-its-final-threshold-with-an-elegant-two-person-show","title":"Interface Marks its Final ‘Threshold’ with an Elegant Two-Person Show","publishDate":1600971651,"format":"standard","headTitle":"Interface Marks its Final ‘Threshold’ with an Elegant Two-Person Show | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s the final days of \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a>, an arts space that for the past nine years has carved out a pocket of defiantly noncommercial experimentation in a Temescal alley otherwise dominated by boutique shops and succulents.\u003c/p>\n\u003cp>Interface is not closing because of the pandemic, but simply because all things must eventually end—especially things that run on the energy of a single person. Director Suzanne L’Heureux says it’s time. The gallery has been sustainable all these years through a combination of her free labor, grants, fundraisers and the occasional artwork sale. \u003c/p>\n\u003cp>Most notably, Interface has upheld a standard of compensation for artists; the gallery has distributed over $30,000 in exhibition honorariums and stipends to writers and performers. L’Heureux’s programming has been both local and international in scope, showcasing just a few works at a time in installations that make the most out of the space’s changeable light, brick wall and architectural elements left over from its initial equine use.\u003c/p>\n\u003cfigure id=\"attachment_13886819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/05_Threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Threshold’ with works by Léonie Guyer and Rebeca Bollinger. \u003ccite>(Courtesy the artists and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery has been a \u003ca href=\"http://www.interfaceartgallery.com/carrie-hott-after-hour\" rel=\"noopener noreferrer\" target=\"_blank\">lamp shop\u003c/a>, a \u003ca href=\"http://www.interfaceartgallery.com/dykegingermexican\" rel=\"noopener noreferrer\" target=\"_blank\">comedy club\u003c/a>, a place for \u003ca href=\"https://www.kqed.org/arts/13873587/interface-gallery-jeremy-ehling-tissue\" rel=\"noopener noreferrer\" target=\"_blank\">quiet introspection\u003c/a>. Even when Interface wasn’t “open,” I could peek through its large alley-facing window and get a pretty good view of a show. Or L’Heureux would text me the door code for a private off-hours visit. But so many times, she met me in person to tour me around the minuscule space, laying out her curatorial process, relaying conversations with artists I would never meet. Her enthusiasm for each show was catching, her attention to detail impressive.\u003c/p>\n\u003cp>In keeping with the gallery’s history of pared-down, minimalist installations, its final show, \u003ci>Threshold\u003c/i>, contains just four works. Two from \u003ca href=\"https://www.rebecabollinger.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rebeca Bollinger\u003c/a>, two from \u003ca href=\"https://www.leonieguyer.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Léonie Guyer\u003c/a>, who work within a limited vocabulary of materials and gestures, minimalists in their own rights. The San Francisco artists had long discussed collaborating on a show, but it took L’Heureux to finally bring them together, and the many years of working in each other’s orbits lead to an effortlessly balanced two-person exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13886823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/15_threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Léonie Guyer (L to R), ‘Untitled, no. 107,’ 2019; ‘Untitled, no. 111,’ 2020. \u003ccite>(Courtesy the artist and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s name, perfect for the end of an exhibition space, also speaks to the many edges of both legibility and form in Bollinger and Guyer’s works. The first piece that welcomes you across the threshold into \u003ci>Threshold\u003c/i> is a 1993 double-exposed Polaroid repurposed as a sculpture, standing on a very vertical plinth in an echo of the gallery’s own architecture. A stripe runs down the center of the Polaroid, an indistinct and abstract image that could any number of things, purplish and hazy, a brooding aura.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directly opposite Bollinger’s monument to verticality, two slabs of marble, incised by Guyer and painted with oil, borrow the plinth’s pose to lean against a gallery wall, supported by a horizontal shelf that fits neatly between a corner and a pillar. One slab is very white, the other streaked with a fissure of gray that mimics patched cracks in the gallery’s concrete floor. At the centers, Guyer’s idiosyncratic, \u003ca href=\"https://wattis.org/MEDIA/01946.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">invented shapes\u003c/a> are black portals, lightly outlined with the scratches of incisions, or a halo of red paint. To the left, the lightless holes in Interface’s brick wall become cousins of Guyer’s shapes. \u003c/p>\n\u003cp>Which brings us to the final piece, a third movement in the suite of \u003ci>Threshold\u003c/i>: up, across, down. Resting unevenly on the floor is Bollinger’s \u003ci>Line of History\u003c/i>, a cast bronze sculpture made while the artist was in residence at the Mills College Art Museum, researching the Julia Morgan-designed clock (and bell) tower at the school, El Campanil.\u003c/p>\n\u003cfigure id=\"attachment_13886821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/09_threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Bollinger, ‘Line of History,’ 2018. \u003ccite>(Courtesy the artist and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Previously displayed on a metal stand, its two protrusions then functioned as a way to stay aloft, but also allowed the sculpture to become an instrument in an evening of \u003ca href=\"https://www.rebecabollinger.com/the-bender-room/zw92x9ezf50tdt462ookr1m725u2sh\" rel=\"noopener noreferrer\" target=\"_blank\">musical performances\u003c/a> on the Mills campus. In that context, \u003ci>Line of History\u003c/i> was a kind of bell. On the floor of Interface, it holds the residue of such activity, but it also looks like something dredged up from the ocean floor—two candlesticks encrusted with barnacles.\u003c/p>\n\u003cp>It’s impossible to view this show without a certain amount of wistfulness, as if we’re already looking back on it from a future in which Interface is closed. The lasting materials of Bollinger and Guyer’s works do little to dispel that sensation. The bronze and marble could be impossibly old, and will persist for generations to come. The show is already a relic.\u003c/p>\n\u003cp>For the culmination of everything—\u003ci>Threshold\u003c/i>, Interface itself—L’Heureux has commissioned choreographer \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a> to create a movement piece, a video of which will be released on the final day of the exhibition in lieu of an in-person performance. So we will wish Interface a ghostly, distant farewell, channeling ourselves into Hewett’s physical response to this culminating, elegant exhibition. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Threshold’ is on view Saturdays, 11am–4pm by appointment at Interface Gallery (Temescal Alley, 486 49th Street, Oakland) through Sept. 30. \u003ca href=\"https://square.site/book/0VF5QMMSMHB48/interface-gallery-oakland-ca\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Rebeca Bollinger and Léonie Guyer’s exhibition bids the nonprofit exhibition space a fitting farewell.","status":"publish","parent":0,"modified":1705020086,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":938},"headData":{"title":"Interface Marks its Final ‘Threshold’ with an Elegant Two-Person Show | KQED","description":"Rebeca Bollinger and Léonie Guyer’s exhibition bids the nonprofit exhibition space a fitting farewell.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interface Marks its Final ‘Threshold’ with an Elegant Two-Person Show","datePublished":"2020-09-24T18:20:51.000Z","dateModified":"2024-01-12T00:41:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886814/interface-marks-its-final-threshold-with-an-elegant-two-person-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the final days of \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a>, an arts space that for the past nine years has carved out a pocket of defiantly noncommercial experimentation in a Temescal alley otherwise dominated by boutique shops and succulents.\u003c/p>\n\u003cp>Interface is not closing because of the pandemic, but simply because all things must eventually end—especially things that run on the energy of a single person. Director Suzanne L’Heureux says it’s time. The gallery has been sustainable all these years through a combination of her free labor, grants, fundraisers and the occasional artwork sale. \u003c/p>\n\u003cp>Most notably, Interface has upheld a standard of compensation for artists; the gallery has distributed over $30,000 in exhibition honorariums and stipends to writers and performers. L’Heureux’s programming has been both local and international in scope, showcasing just a few works at a time in installations that make the most out of the space’s changeable light, brick wall and architectural elements left over from its initial equine use.\u003c/p>\n\u003cfigure id=\"attachment_13886819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/05_Threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/05_Threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Threshold’ with works by Léonie Guyer and Rebeca Bollinger. \u003ccite>(Courtesy the artists and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery has been a \u003ca href=\"http://www.interfaceartgallery.com/carrie-hott-after-hour\" rel=\"noopener noreferrer\" target=\"_blank\">lamp shop\u003c/a>, a \u003ca href=\"http://www.interfaceartgallery.com/dykegingermexican\" rel=\"noopener noreferrer\" target=\"_blank\">comedy club\u003c/a>, a place for \u003ca href=\"https://www.kqed.org/arts/13873587/interface-gallery-jeremy-ehling-tissue\" rel=\"noopener noreferrer\" target=\"_blank\">quiet introspection\u003c/a>. Even when Interface wasn’t “open,” I could peek through its large alley-facing window and get a pretty good view of a show. Or L’Heureux would text me the door code for a private off-hours visit. But so many times, she met me in person to tour me around the minuscule space, laying out her curatorial process, relaying conversations with artists I would never meet. Her enthusiasm for each show was catching, her attention to detail impressive.\u003c/p>\n\u003cp>In keeping with the gallery’s history of pared-down, minimalist installations, its final show, \u003ci>Threshold\u003c/i>, contains just four works. Two from \u003ca href=\"https://www.rebecabollinger.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rebeca Bollinger\u003c/a>, two from \u003ca href=\"https://www.leonieguyer.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Léonie Guyer\u003c/a>, who work within a limited vocabulary of materials and gestures, minimalists in their own rights. The San Francisco artists had long discussed collaborating on a show, but it took L’Heureux to finally bring them together, and the many years of working in each other’s orbits lead to an effortlessly balanced two-person exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13886823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/15_threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/15_threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Léonie Guyer (L to R), ‘Untitled, no. 107,’ 2019; ‘Untitled, no. 111,’ 2020. \u003ccite>(Courtesy the artist and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s name, perfect for the end of an exhibition space, also speaks to the many edges of both legibility and form in Bollinger and Guyer’s works. The first piece that welcomes you across the threshold into \u003ci>Threshold\u003c/i> is a 1993 double-exposed Polaroid repurposed as a sculpture, standing on a very vertical plinth in an echo of the gallery’s own architecture. A stripe runs down the center of the Polaroid, an indistinct and abstract image that could any number of things, purplish and hazy, a brooding aura.\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>Directly opposite Bollinger’s monument to verticality, two slabs of marble, incised by Guyer and painted with oil, borrow the plinth’s pose to lean against a gallery wall, supported by a horizontal shelf that fits neatly between a corner and a pillar. One slab is very white, the other streaked with a fissure of gray that mimics patched cracks in the gallery’s concrete floor. At the centers, Guyer’s idiosyncratic, \u003ca href=\"https://wattis.org/MEDIA/01946.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">invented shapes\u003c/a> are black portals, lightly outlined with the scratches of incisions, or a halo of red paint. To the left, the lightless holes in Interface’s brick wall become cousins of Guyer’s shapes. \u003c/p>\n\u003cp>Which brings us to the final piece, a third movement in the suite of \u003ci>Threshold\u003c/i>: up, across, down. Resting unevenly on the floor is Bollinger’s \u003ci>Line of History\u003c/i>, a cast bronze sculpture made while the artist was in residence at the Mills College Art Museum, researching the Julia Morgan-designed clock (and bell) tower at the school, El Campanil.\u003c/p>\n\u003cfigure id=\"attachment_13886821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/09_threshold_Interface_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13886821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/09_threshold_Interface_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Bollinger, ‘Line of History,’ 2018. \u003ccite>(Courtesy the artist and Interface; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Previously displayed on a metal stand, its two protrusions then functioned as a way to stay aloft, but also allowed the sculpture to become an instrument in an evening of \u003ca href=\"https://www.rebecabollinger.com/the-bender-room/zw92x9ezf50tdt462ookr1m725u2sh\" rel=\"noopener noreferrer\" target=\"_blank\">musical performances\u003c/a> on the Mills campus. In that context, \u003ci>Line of History\u003c/i> was a kind of bell. On the floor of Interface, it holds the residue of such activity, but it also looks like something dredged up from the ocean floor—two candlesticks encrusted with barnacles.\u003c/p>\n\u003cp>It’s impossible to view this show without a certain amount of wistfulness, as if we’re already looking back on it from a future in which Interface is closed. The lasting materials of Bollinger and Guyer’s works do little to dispel that sensation. The bronze and marble could be impossibly old, and will persist for generations to come. The show is already a relic.\u003c/p>\n\u003cp>For the culmination of everything—\u003ci>Threshold\u003c/i>, Interface itself—L’Heureux has commissioned choreographer \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a> to create a movement piece, a video of which will be released on the final day of the exhibition in lieu of an in-person performance. So we will wish Interface a ghostly, distant farewell, channeling ourselves into Hewett’s physical response to this culminating, elegant exhibition. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Threshold’ is on view Saturdays, 11am–4pm by appointment at Interface Gallery (Temescal Alley, 486 49th Street, Oakland) through Sept. 30. \u003ca href=\"https://square.site/book/0VF5QMMSMHB48/interface-gallery-oakland-ca\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886814/interface-marks-its-final-threshold-with-an-elegant-two-person-show","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_879","arts_10278","arts_2707","arts_769","arts_585"],"featImg":"arts_13886822","label":"arts_140"},"arts_13879737":{"type":"posts","id":"arts_13879737","meta":{"index":"posts_1591205157","site":"arts","id":"13879737","score":null,"sort":[1588709887000]},"guestAuthors":[],"slug":"at-a-digital-distance-debora-delmars-show-emphasizes-invisible-systems","title":"At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems","publishDate":1588709887,"format":"standard","headTitle":"At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We can’t visit art the way we used to. Unless an artwork is out in the world, unhindered by walls or doors, it’s cooped up just like the rest of us, waiting patiently to be seen. \u003c/p>\n\u003cp>So we turn to our screens: for online shows, digital galleries, even \u003ca href=\"https://etaletc.com/craig-calderwood-dressed-for-space\" rel=\"noopener noreferrer\" target=\"_blank\">exhibitions mounted in Animal Crossing\u003c/a>. In most instances, these digital offerings are not so different from the documentation that might have gone online to showcase an exhibition to out-of-towners. (Perhaps, as an audience used to gazing at New York and Los Angeles shows from afar, the Bay Area is better suited to this practice.) \u003c/p>\n\u003cp>For the most part, I’ve resisted “visiting” these newly digital offerings, taking a petulant stance (“It’s not \u003ci>supposed\u003c/i> to be this way”). But when \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a> director Suzanne L’Heureux offered to guide me through a vicarious experience of her current show, I reminded myself this is actually my job, and that I can afford to be flexible about my in-person principles while staying safely at home.\u003c/p>\n\u003cfigure id=\"attachment_13879740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/07_1200.jpg\" alt=\"\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13879740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘1/2 Onement VI (Mayfair Businessman),’ 2020; Offcut fabrics sourced from Saville Row, thread, canvas. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike the vast majority of Bay Area galleries, L’Heureux chose to open a new show \u003ci>during\u003c/i> shelter in place—a physical one. She and the artist, London-based Débora Delmar, decided the work made sense in the current context and that installing the show—ready-made sculptures and a wall piece fabricated by an Oakland artist—wouldn’t pose a health risk to anyone involved. \u003c/p>\n\u003cp>Now, \u003ci>[ ]\u003c/i>, which opened on April 18, can be seen in the form of installation images, or courtesy of L’Heureux’s live walk-throughs, happening regularly on Instagram. The show will be at a remove for everyone else for its duration, but this makes some sense for Delmar’s work, which calls attention to how both goods and people move through the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or, at present, \u003ci>don’t\u003c/i> move. \u003c/p>\n\u003cp>Highlighting barriers of entry isn’t a new aspect of Delmar’s work. For \u003ca href=\"https://www.pbs.org/newshour/arts/artist-debora-delmar-on-the-invisible-gates-that-shape-us\" rel=\"noopener noreferrer\" target=\"_blank\">her installation\u003c/a> at this year’s Material Art Fair in Mexico City, she fabricated a gate to block entry to the booth. Artworks appropriated from old advertising materials could be seen through the iron bars, and only three custom key sets opened the lock. Even when the artist and gallery left the gate open, they found many people were unwilling to cross the line into the booth.\u003c/p>\n\u003cfigure id=\"attachment_13879741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/08_1200.jpg\" alt=\"\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13879741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-1020x700.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘Barrier (2),’ 2020; Twenty Lancaster Table & Seating 17″ Round Black 3″ Standard Height Column Table Base, cable ties. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The invisible barriers that guard museums and galleries—even those that are free to enter—are as well known as they are difficult to break down. But Delmar’s \u003ci>[ ]\u003c/i> (a bracketed space that strongly delineates between inside and out) brings in symbols of other economies, giving them the minimalist, art historical treatment. The acrylic surveillance mirrors become miniature Walter de Marias. The stacked cast-iron table bases are a cafe Richard Serra. And against the gallery’s longest wall, offcut fabric from London’s Savile Row assembles into a half-sized version of Barnett Newman’s \u003ci>Onement VI\u003c/i>.\u003c/p>\n\u003cp>In my Zoom tour of the show, I missed the ability to move at my own pace, to observe an object in silence and direct my own gaze. L’Heureux generously became my avatar, moving her camera closer to requested details and stepping outside to give me a view of the show from an empty Temescal Alley. I took copious handwritten notes, just like I would in person, but I wonder what different thoughts might have entered my mind during an unmediated experience of the work. There’s simply no way to know.\u003c/p>\n\u003cp>In an essay commissioned to accompany the show, \u003ca href=\"https://static1.squarespace.com/static/57e1fab7cd0f687b55eeb260/t/5eacaab0d39412485c729802/1588374193344/DS_Delmar.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Danica Sachs writes\u003c/a> about the new awareness Delmar’s show has prompted in her everyday shelter-in-place experiences. The absence of people—both in \u003ci>[ ]\u003c/i> and the public space at large—heightens her awareness of those who always existed below the level of visibility. “Systems held tenuously in place by a largely unseen labor force that allowed us to move through our capitalist society with ease are now irrelevant or obsolete,” she writes.\u003c/p>\n\u003cp>Similarly, the artworks in \u003ci>[ ]\u003c/i> are incomplete in ways that emphasize the labor (and consumption) that ordinarily circulates around such objects. Beaming ourselves into Delmar’s show, via livestreams or astral projection, we recreate, as best we can, the experience of in-person art viewing. But the resulting discomfort—of not having control, of not seeing things clearly—is a reminder of just how inaccessible certain aspects of society (galleries included) are for many, even in the best of times.\u003c/p>\n\u003cp>Which begs the question: When we are allowed to re-enter our public spaces, will we allow those systems to reinstate themselves, and render invisible those who work within them, in exactly the same ways?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘[ ]’ is on view at Interface Gallery in Oakland through May 31. Details \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"The London-based Mexican artist's show calls attention to how goods and people move through the world—and now don't.","status":"publish","parent":0,"modified":1705020805,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":945},"headData":{"title":"At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems | KQED","description":"The London-based Mexican artist's show calls attention to how goods and people move through the world—and now don't.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems","datePublished":"2020-05-05T20:18:07.000Z","dateModified":"2024-01-12T00:53:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13879737/at-a-digital-distance-debora-delmars-show-emphasizes-invisible-systems","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We can’t visit art the way we used to. Unless an artwork is out in the world, unhindered by walls or doors, it’s cooped up just like the rest of us, waiting patiently to be seen. \u003c/p>\n\u003cp>So we turn to our screens: for online shows, digital galleries, even \u003ca href=\"https://etaletc.com/craig-calderwood-dressed-for-space\" rel=\"noopener noreferrer\" target=\"_blank\">exhibitions mounted in Animal Crossing\u003c/a>. In most instances, these digital offerings are not so different from the documentation that might have gone online to showcase an exhibition to out-of-towners. (Perhaps, as an audience used to gazing at New York and Los Angeles shows from afar, the Bay Area is better suited to this practice.) \u003c/p>\n\u003cp>For the most part, I’ve resisted “visiting” these newly digital offerings, taking a petulant stance (“It’s not \u003ci>supposed\u003c/i> to be this way”). But when \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a> director Suzanne L’Heureux offered to guide me through a vicarious experience of her current show, I reminded myself this is actually my job, and that I can afford to be flexible about my in-person principles while staying safely at home.\u003c/p>\n\u003cfigure id=\"attachment_13879740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/07_1200.jpg\" alt=\"\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13879740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘1/2 Onement VI (Mayfair Businessman),’ 2020; Offcut fabrics sourced from Saville Row, thread, canvas. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike the vast majority of Bay Area galleries, L’Heureux chose to open a new show \u003ci>during\u003c/i> shelter in place—a physical one. She and the artist, London-based Débora Delmar, decided the work made sense in the current context and that installing the show—ready-made sculptures and a wall piece fabricated by an Oakland artist—wouldn’t pose a health risk to anyone involved. \u003c/p>\n\u003cp>Now, \u003ci>[ ]\u003c/i>, which opened on April 18, can be seen in the form of installation images, or courtesy of L’Heureux’s live walk-throughs, happening regularly on Instagram. The show will be at a remove for everyone else for its duration, but this makes some sense for Delmar’s work, which calls attention to how both goods and people move through the world.\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>Or, at present, \u003ci>don’t\u003c/i> move. \u003c/p>\n\u003cp>Highlighting barriers of entry isn’t a new aspect of Delmar’s work. For \u003ca href=\"https://www.pbs.org/newshour/arts/artist-debora-delmar-on-the-invisible-gates-that-shape-us\" rel=\"noopener noreferrer\" target=\"_blank\">her installation\u003c/a> at this year’s Material Art Fair in Mexico City, she fabricated a gate to block entry to the booth. Artworks appropriated from old advertising materials could be seen through the iron bars, and only three custom key sets opened the lock. Even when the artist and gallery left the gate open, they found many people were unwilling to cross the line into the booth.\u003c/p>\n\u003cfigure id=\"attachment_13879741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/08_1200.jpg\" alt=\"\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13879741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-1020x700.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘Barrier (2),’ 2020; Twenty Lancaster Table & Seating 17″ Round Black 3″ Standard Height Column Table Base, cable ties. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The invisible barriers that guard museums and galleries—even those that are free to enter—are as well known as they are difficult to break down. But Delmar’s \u003ci>[ ]\u003c/i> (a bracketed space that strongly delineates between inside and out) brings in symbols of other economies, giving them the minimalist, art historical treatment. The acrylic surveillance mirrors become miniature Walter de Marias. The stacked cast-iron table bases are a cafe Richard Serra. And against the gallery’s longest wall, offcut fabric from London’s Savile Row assembles into a half-sized version of Barnett Newman’s \u003ci>Onement VI\u003c/i>.\u003c/p>\n\u003cp>In my Zoom tour of the show, I missed the ability to move at my own pace, to observe an object in silence and direct my own gaze. L’Heureux generously became my avatar, moving her camera closer to requested details and stepping outside to give me a view of the show from an empty Temescal Alley. I took copious handwritten notes, just like I would in person, but I wonder what different thoughts might have entered my mind during an unmediated experience of the work. There’s simply no way to know.\u003c/p>\n\u003cp>In an essay commissioned to accompany the show, \u003ca href=\"https://static1.squarespace.com/static/57e1fab7cd0f687b55eeb260/t/5eacaab0d39412485c729802/1588374193344/DS_Delmar.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Danica Sachs writes\u003c/a> about the new awareness Delmar’s show has prompted in her everyday shelter-in-place experiences. The absence of people—both in \u003ci>[ ]\u003c/i> and the public space at large—heightens her awareness of those who always existed below the level of visibility. “Systems held tenuously in place by a largely unseen labor force that allowed us to move through our capitalist society with ease are now irrelevant or obsolete,” she writes.\u003c/p>\n\u003cp>Similarly, the artworks in \u003ci>[ ]\u003c/i> are incomplete in ways that emphasize the labor (and consumption) that ordinarily circulates around such objects. Beaming ourselves into Delmar’s show, via livestreams or astral projection, we recreate, as best we can, the experience of in-person art viewing. But the resulting discomfort—of not having control, of not seeing things clearly—is a reminder of just how inaccessible certain aspects of society (galleries included) are for many, even in the best of times.\u003c/p>\n\u003cp>Which begs the question: When we are allowed to re-enter our public spaces, will we allow those systems to reinstate themselves, and render invisible those who work within them, in exactly the same ways?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘[ ]’ is on view at Interface Gallery in Oakland through May 31. Details \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879737/at-a-digital-distance-debora-delmars-show-emphasizes-invisible-systems","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_2707","arts_769","arts_585"],"featImg":"arts_13879739","label":"arts_140"},"arts_13873587":{"type":"posts","id":"arts_13873587","meta":{"index":"posts_1591205157","site":"arts","id":"13873587","score":null,"sort":[1579741235000]},"guestAuthors":[],"slug":"interface-gallery-jeremy-ehling-tissue","title":"Stained Glass Evokes Life and Loss in Interface Gallery’s ‘Tissue’","publishDate":1579741235,"format":"standard","headTitle":"Stained Glass Evokes Life and Loss in Interface Gallery’s ‘Tissue’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2017, fire swept through Jeremy Ehling’s home, studio and experimental exhibition space in east Santa Rosa, \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener noreferrer\" target=\"_blank\">destroying everything\u003c/a>. Like so many North Bay residents displaced by the fires, Ehling and his partner found themselves in a situation few plan for: suddenly they had to start over, acclimate to a new home and rebuild a sense of comfort and security with donated things. Now, in a compelling coda to that story, Ehling is showing artwork made with the help of heat and fire. \u003c/p>\n\u003cp>\u003ci>Tissue\u003c/i>, on view at Oakland’s Interface gallery, is a show of just two sculptures, both named after artist Jeremy Ehling’s former cats. That naming device speaks more to the personal nature of the work than its stature, since \u003ci>Aida Mio\u003c/i> and \u003ci>Osiris\u003c/i> are human-sized, both just around six feet tall. In that stat there’s more personal significance: this is also Ehling’s height.\u003c/p>\n\u003cp>Inside Interface’s snug floor plan, the sculptures, made of lead, glass, steel and oak, face each other from opposite sides of the all-white space (the gallery’s signature brick wall got a fresh coat of paint for \u003ci>Tissue\u003c/i>). Despite their three-dimensionality, the sculptures have distinct fronts and backs, in part because the conglomerations of irregular, multicolored (and textured) glass shapes, ribbons of lead and solder are relatively flat in profile. \u003c/p>\n\u003cp>Supported by steel poles anchored in oak bases (from a tree on Ehling’s Forestville property), these sculptures borrow from the materials of a cathedral window to become something else entirely. Imagine \u003ca href=\"https://www.100percent.gallery/in-bone\" rel=\"noopener noreferrer\" target=\"_blank\">abstract expressionist paintings\u003c/a> made from the glass shards left behind in a stained glass conservation workshop. Another personal touch: Ehling worked in just such a place. \u003c/p>\n\u003cfigure id=\"attachment_13873653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200.jpg\" alt=\"\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-13873653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-1020x1530.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Ehling, ‘Osiris’ (detail), 2019. \u003ccite>(Courtesy of the artist and Interface)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In person, \u003ci>Aida Mio\u003c/i> and \u003ci>Osiris\u003c/i> shapeshift, as do the multiple meanings of “tissue” (connective stuff or flimsy paper?). The sculptures look like wooden ships with patchy, translucent sails. They look like people lugging around their meager possessions. Or the bodily representation of past experiences. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Accompanying \u003ci>Tissue\u003c/i> is a short piece of writing by artist McIntyre Parker, which offers more of a poetic conversation between the two artists than a descriptive or critical take on Ehling’s work. The connective tissue here seems to be a long friendship and a kitchen table, driven across the country by Parker and given to Ehling. The text concludes with the most open-ended ending possible: “The freedom in loss.” \u003c/p>\n\u003cp>In addition to demonstrating an admirable resourcefulness and accurately representing the cobbled-together-ness that is a life marked by loss and change, Ehling’s sculptures are fundamentally beautiful. And beauty is a generative, connection-building thing. In the late afternoon, the sunlight entering Interface creates a third piece, an illuminated wall drawing facilitated by \u003ci>Osiris\u003c/i>’ fragmented panes. It’s an accidental addition, all the more lovely because it was unplanned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Tissue’ is on view at Oakland’s Interface (Temescal Alley, 486 49th St.) through Feb. 18. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The sculptures in Jeremy Ehling's solo show use the materials of stained glass in the spirit of abstract expressionism.","status":"publish","parent":0,"modified":1705021443,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":521},"headData":{"title":"Stained Glass Evokes Life and Loss in Interface Gallery’s ‘Tissue’ | KQED","description":"The sculptures in Jeremy Ehling's solo show use the materials of stained glass in the spirit of abstract expressionism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stained Glass Evokes Life and Loss in Interface Gallery’s ‘Tissue’","datePublished":"2020-01-23T01:00:35.000Z","dateModified":"2024-01-12T01:04:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1578733200,"endTime":1582095600,"startTimeString":"Jan. 11–Feb. 18","venueName":"Interface","venueAddress":"486 49th St., Oakland","eventLink":"http://www.interfaceartgallery.com/","path":"/arts/13873587/interface-gallery-jeremy-ehling-tissue","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, fire swept through Jeremy Ehling’s home, studio and experimental exhibition space in east Santa Rosa, \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener noreferrer\" target=\"_blank\">destroying everything\u003c/a>. Like so many North Bay residents displaced by the fires, Ehling and his partner found themselves in a situation few plan for: suddenly they had to start over, acclimate to a new home and rebuild a sense of comfort and security with donated things. Now, in a compelling coda to that story, Ehling is showing artwork made with the help of heat and fire. \u003c/p>\n\u003cp>\u003ci>Tissue\u003c/i>, on view at Oakland’s Interface gallery, is a show of just two sculptures, both named after artist Jeremy Ehling’s former cats. That naming device speaks more to the personal nature of the work than its stature, since \u003ci>Aida Mio\u003c/i> and \u003ci>Osiris\u003c/i> are human-sized, both just around six feet tall. In that stat there’s more personal significance: this is also Ehling’s height.\u003c/p>\n\u003cp>Inside Interface’s snug floor plan, the sculptures, made of lead, glass, steel and oak, face each other from opposite sides of the all-white space (the gallery’s signature brick wall got a fresh coat of paint for \u003ci>Tissue\u003c/i>). Despite their three-dimensionality, the sculptures have distinct fronts and backs, in part because the conglomerations of irregular, multicolored (and textured) glass shapes, ribbons of lead and solder are relatively flat in profile. \u003c/p>\n\u003cp>Supported by steel poles anchored in oak bases (from a tree on Ehling’s Forestville property), these sculptures borrow from the materials of a cathedral window to become something else entirely. Imagine \u003ca href=\"https://www.100percent.gallery/in-bone\" rel=\"noopener noreferrer\" target=\"_blank\">abstract expressionist paintings\u003c/a> made from the glass shards left behind in a stained glass conservation workshop. Another personal touch: Ehling worked in just such a place. \u003c/p>\n\u003cfigure id=\"attachment_13873653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200.jpg\" alt=\"\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-13873653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/06_Ehling_Osiris_Detail_1200-1020x1530.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Ehling, ‘Osiris’ (detail), 2019. \u003ccite>(Courtesy of the artist and Interface)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In person, \u003ci>Aida Mio\u003c/i> and \u003ci>Osiris\u003c/i> shapeshift, as do the multiple meanings of “tissue” (connective stuff or flimsy paper?). The sculptures look like wooden ships with patchy, translucent sails. They look like people lugging around their meager possessions. Or the bodily representation of past experiences. \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>Accompanying \u003ci>Tissue\u003c/i> is a short piece of writing by artist McIntyre Parker, which offers more of a poetic conversation between the two artists than a descriptive or critical take on Ehling’s work. The connective tissue here seems to be a long friendship and a kitchen table, driven across the country by Parker and given to Ehling. The text concludes with the most open-ended ending possible: “The freedom in loss.” \u003c/p>\n\u003cp>In addition to demonstrating an admirable resourcefulness and accurately representing the cobbled-together-ness that is a life marked by loss and change, Ehling’s sculptures are fundamentally beautiful. And beauty is a generative, connection-building thing. In the late afternoon, the sunlight entering Interface creates a third piece, an illuminated wall drawing facilitated by \u003ci>Osiris\u003c/i>’ fragmented panes. It’s an accidental addition, all the more lovely because it was unplanned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Tissue’ is on view at Oakland’s Interface (Temescal Alley, 486 49th St.) through Feb. 18. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873587/interface-gallery-jeremy-ehling-tissue","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3649","arts_2707","arts_3015","arts_1334"],"featImg":"arts_13873652","label":"arts_140"},"arts_13866930":{"type":"posts","id":"arts_13866930","meta":{"index":"posts_1591205157","site":"arts","id":"13866930","score":null,"sort":[1569276031000]},"guestAuthors":[],"slug":"quay-quinn-wolf-interface-gallery-review","title":"At Interface, Quay Quinn Wolf’s Art Imitates ‘Imitation of Life’","publishDate":1569276031,"format":"standard","headTitle":"At Interface, Quay Quinn Wolf’s Art Imitates ‘Imitation of Life’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“Art imitates life,” goes the old adage; and Quay Quinn Wolf’s art in his solo show, \u003cem>\u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Pink Velvet Dress with the Fur Collar\u003c/a>\u003c/em>, is a rejoinder to the film \u003cem>Imitation of Life\u003c/em>. Douglas Sirk’s 1959 adaptation of Fannie Hurst’s novel of the same name becomes the vehicle for Wolf’s meditation on race, ephemerality and the body. The film is one that the New York City-born and based artist watched with his grandmother as a child, and the show contains blended allusions to the film and her commentary. \u003c/p>\n\u003cp>The five pieces currently on view in Oakland’s Interface Gallery, are evocative in their own right, but are animated anew by a complementary viewing of the movie. It’s a masterful thematic marriage of sculpture and film, never relying too heavily on cinematic reference in a way that alienates audiences unfamiliar with it. The show is like a rabbit hole: you can delve as deeply into its themes as you would like or are able, and as you plunge deeper and deeper, Wolf’s work becomes more and more emotionally fraught.\u003c/p>\n\u003cp>Wolf’s fur and velvet pieces, all draped over metal stands, are as reminiscent of standing human figures as they are imbued with symbolic meaning. Two furs, separately titled \u003cem>Dreaming of Luxury\u003c/em>, are wrapped in zippered PVC bags, citing the protective covers for upholstery (a familiar part of many black domestic landscapes) and the rarity of the furs themselves. The sparse, white and whitewashed brick-walled gallery feels paradoxically austere in the presence of these wealth-indicating fabrics. Fur is far more commonly associated with white old money than any artistic consideration of black life.\u003c/p>\n\u003cfigure id=\"attachment_13866972\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'Dreaming of Luxury no.4' (L) and 'Dreaming of Luxury no. 3' (R), both 2019.\" width=\"1200\" height=\"1228\" class=\"size-full wp-image-13866972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-1020x1044.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-1173x1200.jpg 1173w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘Dreaming of Luxury no.4’ (L) and ‘Dreaming of Luxury no. 3’ (R), both 2019. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a recent \u003ca href=\"https://www.nytimes.com/2019/01/31/style/fur-black-women-history.html\" rel=\"noopener\" target=\"_blank\">\u003cem>New York Times\u003c/em> essay\u003c/a>, Jasmine Sanders parallels fastidious caring for fur as an extension of black wearers’ own bodies. “My mother likens caring for the coats to the attention her own mane requires,” she writes. The impulse to protect material items reflects the desire to preserve, to cling to permanence of matter that will inevitably rot and degrade. It reflects a desire to pass down items as well as the psychology of pride that they contain (Sanders also writes: “My mother’s furs are her insistence on public elegance in a world frequently inhospitable to her”), as well as a classed anxiety about commodity damage. The wealthy can replace easily, but the poor cannot.\u003c/p>\n\u003cp>The two furs on display, a vintage mink collar and a vintage mink fur stole, are folded, bagged and mounted atop walking canes as though to mimic storage or casual home display. They suggest mortality of both the commodity and whomever might be so lucky to elegantly adorn themselves with such attire. They also suggest, in their color, brown flesh, which differs from the wounded flesh of the pink velvet in the show’s centerpiece: \u003cem>I adored that velvet dress\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Imitation of Life\u003c/em> is a story about a black domestic worker, Annie Johnson (Juanita Moore), and her white-passing daughter, Sarah Jane (Susan Kohner); \u003cem>I adored that velvet dress\u003c/em> recalls Wolf’s grandmother’s response to one of the dresses worn by the film’s main white character, Lora Meredith (Lana Turner). The delicate-looking pink velvet fabric is stained with African red roses (many of which come from a growing rose belt in Kenya) and shea oil (a staple of black skin care regiments). But this glamorous velvet, mounted on a taller chrome C-stand, seems to loom over the furs like a colorist embodiment of the beautiful fair-skinned daughter who might pass for white, a woman desperately wishing to transcend her muddy genes.\u003c/p>\n\u003cfigure id=\"attachment_13866968\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'I am white, I’m as white as Susie!,' 2019.\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-13866968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-1020x1530.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘I am white, I’m as white as Susie!,’ 2019. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The decorative staining of the luxurious item is not unlike the staining on the wall-mounted cream silk canvas, \u003cem>I am white, I’m as white as Susie!\u003c/em>, clearly meant to simulate a bruise—they are both created using African roses and shea oil. The piece is named for Sarah Jane’s indignant retort to her mother’s despairing realization that she had been passing for white at her school. It is an emotional and psychological bruising. In the film, the mother wonders how to tell her daughter she was “born to be hurt.” In the film, Sarah Jane’s white boyfriend beats her in the street upon discovering she is black, asking, humiliated, if it’s true that her mother is black—in his anger, he uses the analogous anti-black slur. \u003c/p>\n\u003cp>In a “post-racial” present where websites still shock and amuse us with \u003ca href=\"https://www.vibe.com/2013/12/16-celebrities-you-didnt-know-were-black\" rel=\"noopener\" target=\"_blank\">lists\u003c/a> of celebrities “you wouldn’t guess are actually black,” we might forget passing is not simply a description of proximity to white phenotypicality: it is a phenomenon with stakes. What is contemporarily novel—the revelation of one’s black parentage and ancestry—was once met with punishment. \u003c/p>\n\u003cp>Annie Johnson says her daughter was born to be hurt in no small part because she also was born to be hurt. \u003cem>Partus sequitur ventrum\u003c/em> (Latin for “that which is brought forth follows the womb”) is the legal doctrine that codified blackness, and servitude, as genetic. If a mother was a slave, her daughter would also be a slave no matter the identity of her father. It is upon this marker of literally bruised brown flesh and metaphysically wounded flesh that Wolf sharply sets his visual-conceptual stage, as well as the entire tricky interplay between maternal care and sacrifice, the devastation of filial denial and refusal, and embrace.\u003c/p>\n\u003cp>The relative emptiness of the room offers valuable space for the audience to maneuver, which Wolf has cleverly exploited in the arrangement of his pieces. The brown gradient furs are clustered in the corner while the pink velvet occupies the center, like a beacon for and warning against naïve attempts to overcome blackness. At the right angle, the two iterations of mottled, marred flesh align, the physical and ontological assaults speaking to one another. At another angle, black harm and black repair also hold conversation.\u003c/p>\n\u003cfigure id=\"attachment_13866969\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'Soon I will be done, trouble of the world,' 2019, pictured before and after decay.\" width=\"1200\" height=\"884\" class=\"size-full wp-image-13866969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-1020x751.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘Soon I will be done, trouble of the world,’ 2019, pictured before and after decay. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the film’s last moments, Sarah Jane runs through the street and throws herself onto her mother’s casket. The death of the mother she loved deeply and constantly sought to escape forces a reconciliation of her long-denied identity and an acknowledgement of her mother’s sacrifice. There is no better representation of this climactic moment than Wolf’s use of organic material in the show’s final piece. \u003c/p>\n\u003cp>\u003cem>Soon I will be done, trouble of the world\u003c/em> is a five-gallon plastic jug filled with water, gardenias and pink carnations. Wolf’s mother studied mortuary science, her work with death informed by black church rites—at Annie’s funeral, gospel legend Mahalia Jackson delivers a devastating rendition of “\u003ca href=\"https://www.youtube.com/watch?v=8eiI52WluF0\" rel=\"noopener\" target=\"_blank\">Trouble of the World\u003c/a>.” Wolf previously honored his mother in his 2018 show, \u003ci>\u003ca href=\"https://www.artforum.com/picks/quay-quinn-wolf-74900\" rel=\"noopener\" target=\"_blank\">Arrangements\u003c/a>\u003c/i>, and he nods to his inherited knowledge of funerary ritual with his choice of florals in Pink Velvet Dress. \u003c/p>\n\u003cp>In the origin myth of the pink carnation, they bloomed where the Virgin Mary’s tears landed on the earth: they are a symbol of the purest and most eternal motherly love (as experienced by Wolf and as embodied by Annie). Over the course of the show, as the flowers have died and decayed, the water in the jug has turned from clear to brown. While harm and mortality are motifs in Wolf’s work, so too are celebrations of comfort, healing and nostalgia. \u003c/p>\n\u003cp>In considering the relationships between care work and gendered black labor, it bears noting that Juanita Moore, the actress who plays Annie Johnson, received an Oscar nomination for Best Supporting Actress at a time when Hattie McDaniel was the only black actor to have won an Oscar (not coincidentally for her role as “Mammy” in Gone with the Wind, setting an unfortunate precedent for the limited honoring and casting of black women’s roles in film). \u003c/p>\n\u003cp>Anti-blackness often ensures remembrances only in death. But Wolf provides a layered affective framework for iterative memory and remembrance: one that does not shy away from acknowledgements of mortality and temporality, but one that emphasizes a nourishment of bonds with and care for the living as much as we do our ancestral dead.\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>‘Pink Velvet Dress with the Fur Collar’ is on view at Interface Gallery through Sept. 29. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"Inspired by watching the 1959 Douglas Sirk film as a child with his grandmother, the artist’s sculptures are meditations on race, ephemerality and the body.","status":"publish","parent":0,"modified":1705022104,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1517},"headData":{"title":"At Interface, Quay Quinn Wolf’s Art Imitates ‘Imitation of Life’ | KQED","description":"Inspired by watching the 1959 Douglas Sirk film as a child with his grandmother, the artist’s sculptures are meditations on race, ephemerality and the body.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Interface, Quay Quinn Wolf’s Art Imitates ‘Imitation of Life’","datePublished":"2019-09-23T22:00:31.000Z","dateModified":"2024-01-12T01:15:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Zoe Samudzi","templateType":"standard","featuredImageType":"standard","path":"/arts/13866930/quay-quinn-wolf-interface-gallery-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Art imitates life,” goes the old adage; and Quay Quinn Wolf’s art in his solo show, \u003cem>\u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Pink Velvet Dress with the Fur Collar\u003c/a>\u003c/em>, is a rejoinder to the film \u003cem>Imitation of Life\u003c/em>. Douglas Sirk’s 1959 adaptation of Fannie Hurst’s novel of the same name becomes the vehicle for Wolf’s meditation on race, ephemerality and the body. The film is one that the New York City-born and based artist watched with his grandmother as a child, and the show contains blended allusions to the film and her commentary. \u003c/p>\n\u003cp>The five pieces currently on view in Oakland’s Interface Gallery, are evocative in their own right, but are animated anew by a complementary viewing of the movie. It’s a masterful thematic marriage of sculpture and film, never relying too heavily on cinematic reference in a way that alienates audiences unfamiliar with it. The show is like a rabbit hole: you can delve as deeply into its themes as you would like or are able, and as you plunge deeper and deeper, Wolf’s work becomes more and more emotionally fraught.\u003c/p>\n\u003cp>Wolf’s fur and velvet pieces, all draped over metal stands, are as reminiscent of standing human figures as they are imbued with symbolic meaning. Two furs, separately titled \u003cem>Dreaming of Luxury\u003c/em>, are wrapped in zippered PVC bags, citing the protective covers for upholstery (a familiar part of many black domestic landscapes) and the rarity of the furs themselves. The sparse, white and whitewashed brick-walled gallery feels paradoxically austere in the presence of these wealth-indicating fabrics. Fur is far more commonly associated with white old money than any artistic consideration of black life.\u003c/p>\n\u003cfigure id=\"attachment_13866972\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'Dreaming of Luxury no.4' (L) and 'Dreaming of Luxury no. 3' (R), both 2019.\" width=\"1200\" height=\"1228\" class=\"size-full wp-image-13866972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-1020x1044.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/03_QuayQuinnWolf_DreamingofLuxury_Interface_1200-1173x1200.jpg 1173w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘Dreaming of Luxury no.4’ (L) and ‘Dreaming of Luxury no. 3’ (R), both 2019. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a recent \u003ca href=\"https://www.nytimes.com/2019/01/31/style/fur-black-women-history.html\" rel=\"noopener\" target=\"_blank\">\u003cem>New York Times\u003c/em> essay\u003c/a>, Jasmine Sanders parallels fastidious caring for fur as an extension of black wearers’ own bodies. “My mother likens caring for the coats to the attention her own mane requires,” she writes. The impulse to protect material items reflects the desire to preserve, to cling to permanence of matter that will inevitably rot and degrade. It reflects a desire to pass down items as well as the psychology of pride that they contain (Sanders also writes: “My mother’s furs are her insistence on public elegance in a world frequently inhospitable to her”), as well as a classed anxiety about commodity damage. The wealthy can replace easily, but the poor cannot.\u003c/p>\n\u003cp>The two furs on display, a vintage mink collar and a vintage mink fur stole, are folded, bagged and mounted atop walking canes as though to mimic storage or casual home display. They suggest mortality of both the commodity and whomever might be so lucky to elegantly adorn themselves with such attire. They also suggest, in their color, brown flesh, which differs from the wounded flesh of the pink velvet in the show’s centerpiece: \u003cem>I adored that velvet dress\u003c/em>. \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>\u003cem>Imitation of Life\u003c/em> is a story about a black domestic worker, Annie Johnson (Juanita Moore), and her white-passing daughter, Sarah Jane (Susan Kohner); \u003cem>I adored that velvet dress\u003c/em> recalls Wolf’s grandmother’s response to one of the dresses worn by the film’s main white character, Lora Meredith (Lana Turner). The delicate-looking pink velvet fabric is stained with African red roses (many of which come from a growing rose belt in Kenya) and shea oil (a staple of black skin care regiments). But this glamorous velvet, mounted on a taller chrome C-stand, seems to loom over the furs like a colorist embodiment of the beautiful fair-skinned daughter who might pass for white, a woman desperately wishing to transcend her muddy genes.\u003c/p>\n\u003cfigure id=\"attachment_13866968\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'I am white, I’m as white as Susie!,' 2019.\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-13866968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/08_QuayQuinnWolf_WhiteasSusie_Interface_1200-1020x1530.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘I am white, I’m as white as Susie!,’ 2019. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The decorative staining of the luxurious item is not unlike the staining on the wall-mounted cream silk canvas, \u003cem>I am white, I’m as white as Susie!\u003c/em>, clearly meant to simulate a bruise—they are both created using African roses and shea oil. The piece is named for Sarah Jane’s indignant retort to her mother’s despairing realization that she had been passing for white at her school. It is an emotional and psychological bruising. In the film, the mother wonders how to tell her daughter she was “born to be hurt.” In the film, Sarah Jane’s white boyfriend beats her in the street upon discovering she is black, asking, humiliated, if it’s true that her mother is black—in his anger, he uses the analogous anti-black slur. \u003c/p>\n\u003cp>In a “post-racial” present where websites still shock and amuse us with \u003ca href=\"https://www.vibe.com/2013/12/16-celebrities-you-didnt-know-were-black\" rel=\"noopener\" target=\"_blank\">lists\u003c/a> of celebrities “you wouldn’t guess are actually black,” we might forget passing is not simply a description of proximity to white phenotypicality: it is a phenomenon with stakes. What is contemporarily novel—the revelation of one’s black parentage and ancestry—was once met with punishment. \u003c/p>\n\u003cp>Annie Johnson says her daughter was born to be hurt in no small part because she also was born to be hurt. \u003cem>Partus sequitur ventrum\u003c/em> (Latin for “that which is brought forth follows the womb”) is the legal doctrine that codified blackness, and servitude, as genetic. If a mother was a slave, her daughter would also be a slave no matter the identity of her father. It is upon this marker of literally bruised brown flesh and metaphysically wounded flesh that Wolf sharply sets his visual-conceptual stage, as well as the entire tricky interplay between maternal care and sacrifice, the devastation of filial denial and refusal, and embrace.\u003c/p>\n\u003cp>The relative emptiness of the room offers valuable space for the audience to maneuver, which Wolf has cleverly exploited in the arrangement of his pieces. The brown gradient furs are clustered in the corner while the pink velvet occupies the center, like a beacon for and warning against naïve attempts to overcome blackness. At the right angle, the two iterations of mottled, marred flesh align, the physical and ontological assaults speaking to one another. At another angle, black harm and black repair also hold conversation.\u003c/p>\n\u003cfigure id=\"attachment_13866969\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200.jpg\" alt=\"Quay Quinn Wolf, 'Soon I will be done, trouble of the world,' 2019, pictured before and after decay.\" width=\"1200\" height=\"884\" class=\"size-full wp-image-13866969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/15_QuayQuinnWolf_TroublesoftheWorld_Interface_1200-1020x751.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Quay Quinn Wolf, ‘Soon I will be done, trouble of the world,’ 2019, pictured before and after decay. \u003ccite>(Copyright and courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the film’s last moments, Sarah Jane runs through the street and throws herself onto her mother’s casket. The death of the mother she loved deeply and constantly sought to escape forces a reconciliation of her long-denied identity and an acknowledgement of her mother’s sacrifice. There is no better representation of this climactic moment than Wolf’s use of organic material in the show’s final piece. \u003c/p>\n\u003cp>\u003cem>Soon I will be done, trouble of the world\u003c/em> is a five-gallon plastic jug filled with water, gardenias and pink carnations. Wolf’s mother studied mortuary science, her work with death informed by black church rites—at Annie’s funeral, gospel legend Mahalia Jackson delivers a devastating rendition of “\u003ca href=\"https://www.youtube.com/watch?v=8eiI52WluF0\" rel=\"noopener\" target=\"_blank\">Trouble of the World\u003c/a>.” Wolf previously honored his mother in his 2018 show, \u003ci>\u003ca href=\"https://www.artforum.com/picks/quay-quinn-wolf-74900\" rel=\"noopener\" target=\"_blank\">Arrangements\u003c/a>\u003c/i>, and he nods to his inherited knowledge of funerary ritual with his choice of florals in Pink Velvet Dress. \u003c/p>\n\u003cp>In the origin myth of the pink carnation, they bloomed where the Virgin Mary’s tears landed on the earth: they are a symbol of the purest and most eternal motherly love (as experienced by Wolf and as embodied by Annie). Over the course of the show, as the flowers have died and decayed, the water in the jug has turned from clear to brown. While harm and mortality are motifs in Wolf’s work, so too are celebrations of comfort, healing and nostalgia. \u003c/p>\n\u003cp>In considering the relationships between care work and gendered black labor, it bears noting that Juanita Moore, the actress who plays Annie Johnson, received an Oscar nomination for Best Supporting Actress at a time when Hattie McDaniel was the only black actor to have won an Oscar (not coincidentally for her role as “Mammy” in Gone with the Wind, setting an unfortunate precedent for the limited honoring and casting of black women’s roles in film). \u003c/p>\n\u003cp>Anti-blackness often ensures remembrances only in death. But Wolf provides a layered affective framework for iterative memory and remembrance: one that does not shy away from acknowledgements of mortality and temporality, but one that emphasizes a nourishment of bonds with and care for the living as much as we do our ancestral dead.\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>‘Pink Velvet Dress with the Fur Collar’ is on view at Interface Gallery through Sept. 29. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866930/quay-quinn-wolf-interface-gallery-review","authors":["byline_arts_13866930"],"categories":["arts_70"],"tags":["arts_1118","arts_2707","arts_596","arts_769"],"featImg":"arts_13866965","label":"arts"},"arts_13862587":{"type":"posts","id":"arts_13862587","meta":{"index":"posts_1591205157","site":"arts","id":"13862587","score":null,"sort":[1564531243000]},"guestAuthors":[],"slug":"dionne-lee-interface-gallery","title":"Dionne Lee's Watery Exhibition Fills Interface Gallery","publishDate":1564531243,"format":"standard","headTitle":"Dionne Lee’s Watery Exhibition Fills Interface Gallery | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.dionneleestudio.com/\" rel=\"noopener\" target=\"_blank\">Dionne Lee\u003c/a>’s elegant installation at Oakland’s Interface Gallery is a show of just six works—a number that belies the wide-ranging references within.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Running, rigging, wading\u003c/a>\u003c/i> looks at the generative and destructive qualities of water, tracing that duality from the early days of American history into a future wracked by the effects of climate change. Lee’s silver gelatin prints, a video and a single sculpture hang in the balance of all those ideas, linked by a collage-like aesthetic that runs throughout the different media. \u003c/p>\n\u003cp>For her prints, Lee clips, scans and manipulates found images before layering them as individual negatives. In \u003ci>Surface tension\u003c/i>, a circle of floating bodies (synchronized swimmers) becomes ghostly through a solarization effect, conjuring thoughts of those forced to journey by water as part of the Atlantic slave trade. \u003c/p>\n\u003cp>Lee’s own hand is evident throughout. She is not just making work, but redefining landscape photography, reenacting history (\u003ci>Challenger deep\u003c/i> is a near 20-minute video of Lee wandering a field with dowsing rods), and remaking old tools (a handmade rope hangs from the gallery’s ceiling). \u003c/p>\n\u003cp>To examine all these processes and reference points, the exhibition culminates in a panel discussion on Saturday, Aug. 3, 1–3pm. Facilitated by Bay Area writer Elena Gross, the panel brings Lee, artist and educator Tamara Porras and curator Deena Chalabi into conversation on the show’s penultimate day. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The elegant solo show culminates in an Aug. 3 panel discussion. ","status":"publish","parent":0,"modified":1705022438,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":247},"headData":{"title":"Dionne Lee's Watery Exhibition Fills Interface Gallery | KQED","description":"The elegant solo show culminates in an Aug. 3 panel discussion. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dionne Lee's Watery Exhibition Fills Interface Gallery","datePublished":"2019-07-31T00:00:43.000Z","dateModified":"2024-01-12T01:20:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1561708800,"endTime":1564984800,"startTimeString":"June 28–Aug. 4","venueName":"Interface Gallery","venueAddress":"486 49th St., Oakland","eventLink":"http://www.interfaceartgallery.com/","path":"/arts/13862587/dionne-lee-interface-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.dionneleestudio.com/\" rel=\"noopener\" target=\"_blank\">Dionne Lee\u003c/a>’s elegant installation at Oakland’s Interface Gallery is a show of just six works—a number that belies the wide-ranging references within.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Running, rigging, wading\u003c/a>\u003c/i> looks at the generative and destructive qualities of water, tracing that duality from the early days of American history into a future wracked by the effects of climate change. Lee’s silver gelatin prints, a video and a single sculpture hang in the balance of all those ideas, linked by a collage-like aesthetic that runs throughout the different media. \u003c/p>\n\u003cp>For her prints, Lee clips, scans and manipulates found images before layering them as individual negatives. In \u003ci>Surface tension\u003c/i>, a circle of floating bodies (synchronized swimmers) becomes ghostly through a solarization effect, conjuring thoughts of those forced to journey by water as part of the Atlantic slave trade. \u003c/p>\n\u003cp>Lee’s own hand is evident throughout. She is not just making work, but redefining landscape photography, reenacting history (\u003ci>Challenger deep\u003c/i> is a near 20-minute video of Lee wandering a field with dowsing rods), and remaking old tools (a handmade rope hangs from the gallery’s ceiling). \u003c/p>\n\u003cp>To examine all these processes and reference points, the exhibition culminates in a panel discussion on Saturday, Aug. 3, 1–3pm. Facilitated by Bay Area writer Elena Gross, the panel brings Lee, artist and educator Tamara Porras and curator Deena Chalabi into conversation on the show’s penultimate day. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13862587/dionne-lee-interface-gallery","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_1118","arts_2707","arts_596","arts_1334"],"featImg":"arts_13862588","label":"arts_140"},"arts_13865089":{"type":"posts","id":"arts_13865089","meta":{"index":"posts_1591205157","site":"arts","id":"13865089","score":null,"sort":[1564270470000]},"guestAuthors":[],"slug":"teresa-baker-brings-nontraditional-materials-to-interface-gallery","title":"Teresa Baker's Art is Hard To Keep Your Hands Off","publishDate":1564270470,"format":"standard","headTitle":"Teresa Baker’s Art is Hard To Keep Your Hands Off | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Using nontraditional materials like artificial turf, yarn, felt and mesh, Teresa Baker incorporates small gestures into larger expanses of color and texture. Not quite paintings, drawings or sculptures, the irregular edges of Baker’s AstroTurf surfaces resemble sewing patterns—parts of a larger, possibly three-dimensional whole. Formerly based in the Bay Area, this is a bit of a homecoming for the L.A. artist, who last showed at Interface in 2015. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Not quite paintings, drawings or sculptures, Baker uses yarn and AstroTurf to create delicate patterns on large expanses of unusual color and texture. ","status":"publish","parent":0,"modified":1705022466,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":79},"headData":{"title":"Teresa Baker's Art is Hard To Keep Your Hands Off | KQED","description":"Not quite paintings, drawings or sculptures, Baker uses yarn and AstroTurf to create delicate patterns on large expanses of unusual color and texture. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Teresa Baker's Art is Hard To Keep Your Hands Off","datePublished":"2019-07-27T23:34:30.000Z","dateModified":"2024-01-12T01:21:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1571385600,"endTime":1575270000,"startTimeString":"Oct. 18–Dec. 1","venueName":"Interface Gallery","venueAddress":"486 49th St., Oakland","eventLink":"http://www.interfaceartgallery.com/teresa-baker","path":"/arts/13865089/teresa-baker-brings-nontraditional-materials-to-interface-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Using nontraditional materials like artificial turf, yarn, felt and mesh, Teresa Baker incorporates small gestures into larger expanses of color and texture. Not quite paintings, drawings or sculptures, the irregular edges of Baker’s AstroTurf surfaces resemble sewing patterns—parts of a larger, possibly three-dimensional whole. Formerly based in the Bay Area, this is a bit of a homecoming for the L.A. artist, who last showed at Interface in 2015. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865089/teresa-baker-brings-nontraditional-materials-to-interface-gallery","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_1006","arts_2707","arts_596"],"featImg":"arts_13865090","label":"arts_140"},"arts_13845755":{"type":"posts","id":"arts_13845755","meta":{"index":"posts_1591205157","site":"arts","id":"13845755","score":null,"sort":[1543359630000]},"guestAuthors":[],"slug":"jenine-marshs-train-pressed-coins-define-the-value-of-the-small-gestures","title":"Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures","publishDate":1543359630,"format":"standard","headTitle":"Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A freight train barrels down the tracks and artist Jenine Marsh sits and waits. She waits first for the deep vibrations. Then she waits for the sounds that come all at once—of crashing cars and wheels—and for the rush of heat and air the train unleashes. \u003c/p>\n\u003cp>Marsh is waiting, usually in a rail yard near her Toronto studio, for another sound, an extra noise, \u003ca href=\"http://www.jeninemarsh.com/Jenine%20Marsh%20-%20coins%20and%20tokens.pdf\" rel=\"noopener\" target=\"_blank\">she calls it\u003c/a>, of metal on metal, as the wheels roll mercilessly over the line of coins she’s placed along the tracks. Pennies, dimes, loonies and toonies scatter into the surrounding dirt and detritus, and Marsh goes in search of the flattened coins, now deformed, defaced and smooth.\u003c/p>\n\u003cp>Train-pressed coins have been a hobby for Marsh since childhood and a recurring element of her work since 2015. They are present—or strongly evoked—in every aspect of her solo exhibition at Oakland’s Interface Gallery, \u003cem>a room at the center of the world surrounded by the noise of men\u003c/em>, on view through Saturday, Dec. 2. \u003c/p>\n\u003cfigure id=\"attachment_13845760\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'a room at the center of the world surrounded by the noise of men,' exhibition view, Interface, Oakland.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-520x371.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘a room at the center of the world surrounded by the noise of men,’ exhibition view, Interface, Oakland. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven works in the installation operate on shifting registers of heft and human hand but share materials and metaphors—coins, fingers and fists, cement, solder, soil—revealing Marsh’s deeper questions about exchange and value. These questions exist within a system defined by constraints and that, like \u003ca href=\"https://en.wikipedia.org/wiki/Fiat_money\" rel=\"noopener\" target=\"_blank\">fiat currency\u003c/a>, is predetermined, empty—a system with seemingly little hope for intervention.\u003c/p>\n\u003cp>Interface is small and Marsh’s work fills the space in two ways. Some pieces assert their place (bold, inscrutable sculptures on the floor of the gallery, to be carefully walked around) while others insinuate (thin and small objects made of wire, faint but thoroughly dispersed across the back wall and a nearby skylight). \u003c/p>\n\u003cfigure id=\"attachment_13845761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'the trespass' detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘the trespass’ detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A work titled \u003cem>the trespass\u003c/em> is the former: five, 18-inch, found metal hoops lay flat in a line, filled with cement mixed with soil and wildflower seeds (a doctored guerrilla-gardening seed bomb recipe), and scattered with train-pressed coins, more soil and gravely bits. Each hoop is linked to the next by more cement spilling over the rims; the cement is furrowed, ridged and pitted, like the imprints of hands or paws or claws on an industrial wasteland. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More hands emerge elsewhere. In \u003cem>contortion (steel)\u003c/em> and \u003cem>contortion (silver)\u003c/em>, a few curled fingers and some knuckles—the artist’s, cast in cement—grip the edges of similar metal hoops and rust-stained silk shirts. A single, fully-formed fist is suspended in the middle of one wall, its clenched fingers face the center of the room (titled \u003cem>fist in pocket\u003c/em>). Fabric and bungee cords cupped around the heel of the hand make a little pouch, a DIY coin purse.\u003c/p>\n\u003cfigure id=\"attachment_13845758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'fist in pocket' detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘fist in pocket’ detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most compelling image Marsh creates, however, doesn’t hang in the gallery; it’s the slightness of space she conjures, the slimmest, nearly nonexistent gap in which to insert oneself, to slip material into and test the limits of legibility or reform the edges of value. It is the space between the train wheels and tracks where the coins are flattened; it is the crevices between mortar and brick in which those coins are then slotted (\u003cem>coins and tokens\u003c/em>). It is the cracks between fingers, through which wet cement squeezes, leaving traces of body and touch. \u003c/p>\n\u003cp>Marsh’s uncanny, elegiac floor sculptures are hopefully liminal; it’s not a missing person signaled in the bounds of \u003cem>contortion\u003c/em> but one yet to arrive. Such a view is not a matter of perspective but of potential, and the power of claiming space. Spare change becomes raw material and concrete fecund. The crushing forces that be—of capitalism, of patriarchy, or any otherwise headlong, hurtling object—are met by the artist’s patience and a small bump, an extra noise.\u003c/p>\n\u003cfigure id=\"attachment_13845759\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'contortion (steel),' 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘contortion (steel),’ 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s title is a line from author and critic Claudia La Rocco’s \u003cem>two-page collection\u003c/em>, a text written for the exhibition, informed by though not about Marsh’s work. [La Rocco was one of my professors at the School of Visual Arts in 2015.] It marks the start of a new series at Interface wherein exhibitions are paired with newly commissioned work from Bay Area writers, presented together but viewed as independent and meant to complement one another. \u003c/p>\n\u003cp>La Rocco’s text is a collection of 46 sentences and sentence fragments—some new, some lifted from her previous writing—each printed individually on strips of paper and presented in an envelope. It’s a poem and a collage to be ordered by the reader, shaped, paced and read differently each time. Persistent elements of the text are awe at a watery world and the omnipresence of geology; voyage and metamorphosis; the sensation of touch; and an oscillation between the ominous and the expansive. The changing resonances and constant unfolding make it feel like reading a fortune.\u003c/p>\n\u003cfigure id=\"attachment_13845766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'coins and tokens,' 2015-18; Open series of train-pressed coins and tokens of mixed currencies.\" width=\"1200\" height=\"787\" class=\"size-full wp-image-13845766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘coins and tokens,’ 2015-18; Open series of train-pressed coins and tokens of mixed currencies. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both artists reshape found materials, wrestle with inherited structures of power and expression and consider what might be important about an imprint left on a surface. At Interface, both Marsh and La Rocco convey how value might be embodied and how it is ultimately ecological. What kind of marks are left on the landscape and on one another, by words, by fingers, by machines, by shifting rocks, by plants, by train tracks, by industry, by barriers, by boundaries? This is the rate of exchange still left to rectify.\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>‘a room at the center of the world surrounded by the noise of men’ is on view at Interface Gallery through Dec. 2, 2018. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Spare change becomes raw material in the Toronto-based artist's solo exhibition at Oakland's Interface Gallery.","status":"publish","parent":0,"modified":1705026958,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1133},"headData":{"title":"Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures | KQED","description":"Spare change becomes raw material in the Toronto-based artist's solo exhibition at Oakland's Interface Gallery.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures","datePublished":"2018-11-27T23:00:30.000Z","dateModified":"2024-01-12T02:35:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Emma Drew","path":"/arts/13845755/jenine-marshs-train-pressed-coins-define-the-value-of-the-small-gestures","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A freight train barrels down the tracks and artist Jenine Marsh sits and waits. She waits first for the deep vibrations. Then she waits for the sounds that come all at once—of crashing cars and wheels—and for the rush of heat and air the train unleashes. \u003c/p>\n\u003cp>Marsh is waiting, usually in a rail yard near her Toronto studio, for another sound, an extra noise, \u003ca href=\"http://www.jeninemarsh.com/Jenine%20Marsh%20-%20coins%20and%20tokens.pdf\" rel=\"noopener\" target=\"_blank\">she calls it\u003c/a>, of metal on metal, as the wheels roll mercilessly over the line of coins she’s placed along the tracks. Pennies, dimes, loonies and toonies scatter into the surrounding dirt and detritus, and Marsh goes in search of the flattened coins, now deformed, defaced and smooth.\u003c/p>\n\u003cp>Train-pressed coins have been a hobby for Marsh since childhood and a recurring element of her work since 2015. They are present—or strongly evoked—in every aspect of her solo exhibition at Oakland’s Interface Gallery, \u003cem>a room at the center of the world surrounded by the noise of men\u003c/em>, on view through Saturday, Dec. 2. \u003c/p>\n\u003cfigure id=\"attachment_13845760\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'a room at the center of the world surrounded by the noise of men,' exhibition view, Interface, Oakland.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-520x371.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘a room at the center of the world surrounded by the noise of men,’ exhibition view, Interface, Oakland. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven works in the installation operate on shifting registers of heft and human hand but share materials and metaphors—coins, fingers and fists, cement, solder, soil—revealing Marsh’s deeper questions about exchange and value. These questions exist within a system defined by constraints and that, like \u003ca href=\"https://en.wikipedia.org/wiki/Fiat_money\" rel=\"noopener\" target=\"_blank\">fiat currency\u003c/a>, is predetermined, empty—a system with seemingly little hope for intervention.\u003c/p>\n\u003cp>Interface is small and Marsh’s work fills the space in two ways. Some pieces assert their place (bold, inscrutable sculptures on the floor of the gallery, to be carefully walked around) while others insinuate (thin and small objects made of wire, faint but thoroughly dispersed across the back wall and a nearby skylight). \u003c/p>\n\u003cfigure id=\"attachment_13845761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'the trespass' detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘the trespass’ detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A work titled \u003cem>the trespass\u003c/em> is the former: five, 18-inch, found metal hoops lay flat in a line, filled with cement mixed with soil and wildflower seeds (a doctored guerrilla-gardening seed bomb recipe), and scattered with train-pressed coins, more soil and gravely bits. Each hoop is linked to the next by more cement spilling over the rims; the cement is furrowed, ridged and pitted, like the imprints of hands or paws or claws on an industrial wasteland. \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>More hands emerge elsewhere. In \u003cem>contortion (steel)\u003c/em> and \u003cem>contortion (silver)\u003c/em>, a few curled fingers and some knuckles—the artist’s, cast in cement—grip the edges of similar metal hoops and rust-stained silk shirts. A single, fully-formed fist is suspended in the middle of one wall, its clenched fingers face the center of the room (titled \u003cem>fist in pocket\u003c/em>). Fabric and bungee cords cupped around the heel of the hand make a little pouch, a DIY coin purse.\u003c/p>\n\u003cfigure id=\"attachment_13845758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'fist in pocket' detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘fist in pocket’ detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most compelling image Marsh creates, however, doesn’t hang in the gallery; it’s the slightness of space she conjures, the slimmest, nearly nonexistent gap in which to insert oneself, to slip material into and test the limits of legibility or reform the edges of value. It is the space between the train wheels and tracks where the coins are flattened; it is the crevices between mortar and brick in which those coins are then slotted (\u003cem>coins and tokens\u003c/em>). It is the cracks between fingers, through which wet cement squeezes, leaving traces of body and touch. \u003c/p>\n\u003cp>Marsh’s uncanny, elegiac floor sculptures are hopefully liminal; it’s not a missing person signaled in the bounds of \u003cem>contortion\u003c/em> but one yet to arrive. Such a view is not a matter of perspective but of potential, and the power of claiming space. Spare change becomes raw material and concrete fecund. The crushing forces that be—of capitalism, of patriarchy, or any otherwise headlong, hurtling object—are met by the artist’s patience and a small bump, an extra noise.\u003c/p>\n\u003cfigure id=\"attachment_13845759\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'contortion (steel),' 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘contortion (steel),’ 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s title is a line from author and critic Claudia La Rocco’s \u003cem>two-page collection\u003c/em>, a text written for the exhibition, informed by though not about Marsh’s work. [La Rocco was one of my professors at the School of Visual Arts in 2015.] It marks the start of a new series at Interface wherein exhibitions are paired with newly commissioned work from Bay Area writers, presented together but viewed as independent and meant to complement one another. \u003c/p>\n\u003cp>La Rocco’s text is a collection of 46 sentences and sentence fragments—some new, some lifted from her previous writing—each printed individually on strips of paper and presented in an envelope. It’s a poem and a collage to be ordered by the reader, shaped, paced and read differently each time. Persistent elements of the text are awe at a watery world and the omnipresence of geology; voyage and metamorphosis; the sensation of touch; and an oscillation between the ominous and the expansive. The changing resonances and constant unfolding make it feel like reading a fortune.\u003c/p>\n\u003cfigure id=\"attachment_13845766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'coins and tokens,' 2015-18; Open series of train-pressed coins and tokens of mixed currencies.\" width=\"1200\" height=\"787\" class=\"size-full wp-image-13845766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘coins and tokens,’ 2015-18; Open series of train-pressed coins and tokens of mixed currencies. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both artists reshape found materials, wrestle with inherited structures of power and expression and consider what might be important about an imprint left on a surface. At Interface, both Marsh and La Rocco convey how value might be embodied and how it is ultimately ecological. What kind of marks are left on the landscape and on one another, by words, by fingers, by machines, by shifting rocks, by plants, by train tracks, by industry, by barriers, by boundaries? This is the rate of exchange still left to rectify.\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>‘a room at the center of the world surrounded by the noise of men’ is on view at Interface Gallery through Dec. 2, 2018. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845755/jenine-marshs-train-pressed-coins-define-the-value-of-the-small-gestures","authors":["byline_arts_13845755"],"categories":["arts_73","arts_70"],"tags":["arts_1118","arts_2707","arts_596","arts_1143","arts_769"],"featImg":"arts_13845762","label":"arts"},"arts_13810556":{"type":"posts","id":"arts_13810556","meta":{"index":"posts_1591205157","site":"arts","id":"13810556","score":null,"sort":[1507248012000]},"guestAuthors":[],"slug":"at-interface-two-photographers-translate-light-into-solid-forms","title":"At Interface, Two Photographers Translate Light into Solid Forms","publishDate":1507248012,"format":"standard","headTitle":"At Interface, Two Photographers Translate Light into Solid Forms | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous 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>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Gregory Kaplowitz's photograms and Elizabeth Bernstein's shelf-bound compositions instill a much-needed sense of calm in 'the sun shot out from its silver side.'","status":"publish","parent":0,"modified":1705029393,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":589},"headData":{"title":"At Interface, Two Photographers Translate Light into Solid Forms | KQED","description":"Gregory Kaplowitz's photograms and Elizabeth Bernstein's shelf-bound compositions instill a much-needed sense of calm in 'the sun shot out from its silver side.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Interface, Two Photographers Translate Light into Solid Forms","datePublished":"2017-10-06T00:00:12.000Z","dateModified":"2024-01-12T03:16:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810556/at-interface-two-photographers-translate-light-into-solid-forms","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \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 resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous 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>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810556/at-interface-two-photographers-translate-light-into-solid-forms","authors":["77"],"categories":["arts_235","arts_70"],"tags":["arts_1118","arts_2707","arts_596","arts_822","arts_769"],"featImg":"arts_13810672","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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