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"content": "\u003cp>Effective today, Diane B. Wilsey’s long tenure at the helm of the Fine Arts Museums of San Francisco (FAMSF) is over.\u003c/p>\n\u003cp>Since 1998, Wilsey (better known as Dede), has served as president of one of the FAMSF’s three boards of trustees, and chair of another. These groups oversee both the de Young Museum and the Legion of Honor.\u003c/p>\n\u003cp>In the same vote by the trustees, board member Jason Moment was elected to succeed Wilsey. In a quote given to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/dede-wilsey-to-step-down-as-president-of-the-sf-fine-arts-museums\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/i>, Wilsey said, “I have been looking for someone younger, who was ready to take over. Jason is perfect.”\u003c/p>\n\u003cp>This is a very different tune than the one \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\" target=\"_blank\" rel=\"noopener\">Wilsey struck in 2016\u003c/a>, when rumors of her resignation swirled, and she stepped down as president and CEO of the museums. Now, Wilsey assumes the role of chair emerita.\u003c/p>\n\u003cp>As the driving force behind the de Young’s $206 million rebuilding campaign in 2005, donating $10 million of her own money, Wilsey was often the public face of the institution, especially while the museums weathered the instability of four different directors between the years of 2011 and 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilsey is one of San Francisco’s most loyal and generous philanthropists. She sits on the boards of the San Francisco Opera, the San Francisco Ballet, and the San Francisco War Memorial; she is also a donor to KQED.\u003c/p>\n\u003cp>But her time at the FAMSF was marred by \u003ca href=\"https://www.kqed.org/arts/11856390/dede-wilsey-resigns-as-de-young-legion-of-honor-board-chair\" target=\"_blank\" rel=\"noopener\">lawsuits\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/12264821/city-audit-deems-wilseys-450k-former-employee-payout-improper\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a>, \u003ca href=\"https://www.nytimes.com/2013/03/16/arts/design/turmoil-at-fine-arts-museums-of-san-francisco.html\" target=\"_blank\" rel=\"noopener\">staff turmoil\u003c/a> and financial deficits. In a particularly interesting detail from a 2016 \u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\" rel=\"noopener\" target=\"_blank\">New York Times\u003c/a>\u003c/em> story about the “defiant socialite,” a former curator expressed his displeasure that Wilsey had paid $1,000 apiece to have the names of her dogs posted on a donor wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moment admitted to the \u003cem>Chronicle\u003c/em> it will be difficult to fill Wilsey’s shoes: “None of us want her to step away. She is integral to the museum.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilsey is one of San Francisco’s most loyal and generous philanthropists. She sits on the boards of the San Francisco Opera, the San Francisco Ballet, and the San Francisco War Memorial; she is also a donor to KQED.\u003c/p>\n\u003cp>But her time at the FAMSF was marred by \u003ca href=\"https://www.kqed.org/arts/11856390/dede-wilsey-resigns-as-de-young-legion-of-honor-board-chair\" target=\"_blank\" rel=\"noopener\">lawsuits\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/12264821/city-audit-deems-wilseys-450k-former-employee-payout-improper\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a>, \u003ca href=\"https://www.nytimes.com/2013/03/16/arts/design/turmoil-at-fine-arts-museums-of-san-francisco.html\" target=\"_blank\" rel=\"noopener\">staff turmoil\u003c/a> and financial deficits. In a particularly interesting detail from a 2016 \u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\" rel=\"noopener\" target=\"_blank\">New York Times\u003c/a>\u003c/em> story about the “defiant socialite,” a former curator expressed his displeasure that Wilsey had paid $1,000 apiece to have the names of her dogs posted on a donor wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moment admitted to the \u003cem>Chronicle\u003c/em> it will be difficult to fill Wilsey’s shoes: “None of us want her to step away. She is integral to the museum.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starting April 6, the de Young and Legion of Honor will admit San Franciscans for free every Saturday. The initiative will accept photo ID or a postmarked envelope as proof of residence, part of an effort to provide wider access to the museums’ collections.\u003c/p>\n\u003cp>Currently, general admission tickets at both museums, which operate under the umbrella organization of the Fine Arts Museums of San Francisco (FAMSF) clock in at $15 per adult. Special exhibitions like \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/gauguin-spiritual-journey\" rel=\"noopener\" target=\"_blank\">Gauguin: A Spiritual Journey\u003c/a>\u003c/i> or \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/east-meets-west\" rel=\"noopener\" target=\"_blank\">East Meets West: Jewels of the Maharajas from the Al Thani Collection\u003c/a>\u003c/i> currently run at $28 per adult. (Unfortunately, come April 6, special exhibitions will remain full price.)\u003c/p>\n\u003cp>But even these prices aren’t the highest in the Bay Area museum world. Adults at SFMOMA pay $25 each. And admission prices at the California Academy of Sciences top the list at $35.95 per adult, $25.95 per child; a family of three can spend around $100 just to visit the combination aquarium, planetarium and natural history museum.\u003c/p>\n\u003cp>Pointing to rising costs of living in the Bay Area, new FAMSF director and CEO Thomas P. Campbell stated in a press release, “We must serve the city that we represent. Step one is making sure that every resident can step foot in its museums. That starts with access. That starts with accessibility.”\u003c/p>\n\u003cp>This isn’t a radically new stance for the FAMSF, but more of a return to its founding principles. City funding accounts for approximately 24 percent of the FAMSF’s operating expenses (a $14.9 million appropriation in the \u003ca href=\"https://www.famsf.org/sites/default/files/famsf_annual_report_fy17-18.pdf\" rel=\"noopener\" target=\"_blank\">2018 fiscal year\u003c/a>). As “city museums,” a requirement of institutional accessibility is written into \u003ca href=\"https://deyoung.famsf.org/about/board-of-trustees\" rel=\"noopener\" target=\"_blank\">San Francisco’s City Charter\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the free Saturdays, the FAMSF will introduce free admission to all visitors with disabilities during \u003ci>all\u003c/i> normal museum hours. The museums are also joining the national \u003ca href=\"https://museums4all.org/\" rel=\"noopener\" target=\"_blank\">Museums for All\u003c/a> program, which allows those receiving food assistance to enter the de Young and Legion of Honor for free by simply presenting their EBT card. The museums will continue to offer free general admission to all on the first Tuesday of every month. (Hot tip, that’s coming up fast on Feb. 5!)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For additional details on discounts and free entry, see the \u003ca href=\"https://deyoung.famsf.org/free-reduced-admission\" rel=\"noopener\" target=\"_blank\">FAMSF free and reduced admission page\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cp>The Fine Arts Museums of San Francisco, parent organization to the de Young and Legion of Honor museums, announced the appointment of Thomas Campbell as director and CEO Tuesday, ending a six-month search for new leadership at two of the region’s largest publicly-funded cultural institutions.\u003c/p>\n\u003cp>Campbell, 56, an Oxford-educated scholar specializing in European tapestries, led the Metropolitan Museum of Art in New York between 2009 and 2017. More recently, he was a resident fellow at the Getty Research Institute and Waddesdon Manor, studying international changes to museums. In a leadership swap, his predecessor at the Fine Arts Museums, Max Hollein, earlier this year left San Francisco to head the Met.\u003c/p>\n\u003cp>Campell leaves the country’s largest museum with a mixed record, having overseen a surge in attendance and an expanded digital presence amid managerial and fiscal criticisms. Further, the \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/04/02/arts/design/met-museum-campbell-resignation-brodsky-coburn.html\">reported\u003c/a> last year on a complaint that Campbell had an “inappropriate relationship” with a female staffer, which he dismissed as “gossip and innuendo” in \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/former-met-director-thomas-campbell-will-lead-sf-museums\">comments\u003c/a> Tuesday to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>The appointment of another white man to a powerful museum post in San Francisco also runs against local calls for greater diversity among art world leadership. In June, more than 100 FAMSF staffers signed a letter urging the board to consider women and people of color for the role.\u003c/p>\n\u003cp>“I am deeply gratified to take up the responsibility of leading the Fine Arts Museums of San Francisco,” Campbell said in a statement. “It is a great privilege to become part of an institution with such outstanding curatorial expertise and famously loyal audiences and supporters, and I am especially pleased to have the opportunity to continue the great work done by my friend and predecessor Max Hollein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At FAMSF, Campbell will oversee a staff of more than 500 and an operating budget of $57 million in addition to the museums’ $133 million endowment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Campbell, who starts work Nov. 1, will be FAMSF’s fourth director since the death of John Buchanan in 2011.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Arts Museums of San Francisco, parent organization to the de Young and Legion of Honor museums, announced the appointment of Thomas Campbell as director and CEO Tuesday, ending a six-month search for new leadership at two of the region’s largest publicly-funded cultural institutions.\u003c/p>\n\u003cp>Campbell, 56, an Oxford-educated scholar specializing in European tapestries, led the Metropolitan Museum of Art in New York between 2009 and 2017. More recently, he was a resident fellow at the Getty Research Institute and Waddesdon Manor, studying international changes to museums. In a leadership swap, his predecessor at the Fine Arts Museums, Max Hollein, earlier this year left San Francisco to head the Met.\u003c/p>\n\u003cp>Campell leaves the country’s largest museum with a mixed record, having overseen a surge in attendance and an expanded digital presence amid managerial and fiscal criticisms. Further, the \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/04/02/arts/design/met-museum-campbell-resignation-brodsky-coburn.html\">reported\u003c/a> last year on a complaint that Campbell had an “inappropriate relationship” with a female staffer, which he dismissed as “gossip and innuendo” in \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/former-met-director-thomas-campbell-will-lead-sf-museums\">comments\u003c/a> Tuesday to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>The appointment of another white man to a powerful museum post in San Francisco also runs against local calls for greater diversity among art world leadership. In June, more than 100 FAMSF staffers signed a letter urging the board to consider women and people of color for the role.\u003c/p>\n\u003cp>“I am deeply gratified to take up the responsibility of leading the Fine Arts Museums of San Francisco,” Campbell said in a statement. “It is a great privilege to become part of an institution with such outstanding curatorial expertise and famously loyal audiences and supporters, and I am especially pleased to have the opportunity to continue the great work done by my friend and predecessor Max Hollein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pure Visual Indulgence at the Legion of Honor's 'Truth and Beauty'",
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"content": "\u003cp>\u003ci>Truth & Beauty: The Pre-Raphaelites and the Old Masters\u003c/i> is an escape. In the mausoleum-like lower galleries at the Legion of Honor, there are no windows to remind you of the outside world. There’s also no cell service, so those terrifying push notifications can’t reach you. Absent these external reminders, the galleries and their contents create a sense of timelessness, aided by the fact that they’re filled with art spanning nearly eight centuries. \u003c/p>\n\u003cp>The Pre-Raphaelite Brotherhood, formed in 1848 by art students at London’s Royal Academy (more on that unfortunate naming decision later), pulled unapologetically from the old masters in their quest to express “truth to nature.” This means, among the works spanning centuries, an echoing of style and subject matter blurs the lines between the very old and slightly less old. The paintings, textiles and prints of both the Pre-Raphaelites and the medieval and Renaissance artists they admired are full of vibrant colors, angular poses, dense symbolism and romantic scenes, amounting to six galleries of pure beauty. \u003c/p>\n\u003cfigure id=\"attachment_13836657\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg\" alt=\"John Roddam Spencer Stanhope, 'Love and the Maiden,' 1877.\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13836657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-520x358.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Roddam Spencer Stanhope, ‘Love and the Maiden,’ 1877. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we get too far into the contents of those galleries: the name. The Pre-Raphaelite Brotherhood formed a full 328 years \u003cem>after\u003c/em> the death of the Italian High Renaissance artist Raffaello Sanzio da Urbino (a.k.a. Raphael). Though these young art students did admire the work that came before Raphael, their primary stance was against the “Raphaelites,” the followers and imitators of Raphael who (they believed) regurgitated past methods without giving them new energy or significance. Being a Pre-Raphaelite meant returning to the primary source material—the old masters and nature itself. \u003c/p>\n\u003cp>The Legion of Honor exhibition, curated by the Fine Arts Museums’ Director of the Art Division Melissa Buron, focuses on three founding members of the “brotherhood,” William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, tracing their influences and protégées into the 20th century. The group took to heart the words of art critic (and Pre-Raphaelite champion) John Ruskin, to “go to nature in all singleness of heart … rejecting nothing, selecting nothing, and scorning nothing … and rejoicing always in the truth.”\u003c/p>\n\u003cfigure id=\"attachment_13836660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg\" alt=\"John Everett Millais, 'Mariana,' 1851.\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13836660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-979x1200.jpg 979w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1180x1446.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-960x1177.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-375x460.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-520x637.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Everett Millais, ‘Mariana,’ 1851. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early Pre-Raphaelite works, this meant precision. In the 1851 painting \u003ci>Mariana\u003c/i>, Millais depicts a character from Shakespeare’s \u003ci>Measure for Measure\u003c/i>, inspired by an Alfred, Lord Tennyson poem. The titular figure stands up from her floral needlework to stretch her back, leaves scattered around her workspace and outside her window. See, Millais seems to say, she too studies nature!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the women in the Pre-Raphaelites’ paintings engage in far less strenuous tasks. Rossetti’s redheads (most modeled after Jane Morris) brush their hair, drape their fingers across stringed instruments, hold pomegranates or branches, or simply fiddle with their jewelry, their milky necks arched and tilted to emphasize strong jawlines.\u003c/p>\n\u003cfigure id=\"attachment_13836654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg\" alt=\"Installation view of Sando Botticelli, 'Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),' ca. 1475.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13836654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sando Botticelli, ‘Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),’ ca. 1475. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to follow the path of visual influence from portraits by Sandro Botticelli and Paolo Veronese to these women, but to do so within the space of just a few galleries feels luxurious. Not even the Pre-Raphaelites had such ready access to the Renaissance paintings they so admired. In the era of Google image search, we forget about the many translations between painting, print and copy that transpired before artists in England might chance upon an image of an artwork in Italy. \u003c/p>\n\u003cp>Reproductions fed their practices. At their very first meeting, before any of the Pre-Raphaelites traveled abroad, Millais showed Hunt and Rossetti prints made after the frescoes in the Campo Santo in Pisa. The \u003ca href=\"http://www.vam.ac.uk/content/journals/conservation-journal/issue-23/the-arundel-society-techniques-in-the-art-of-copying/\" rel=\"noopener\" target=\"_blank\">Arundel Society\u003c/a>, founded by Ruskin in 1848, commissioned copies of European masterworks to promote a deeper understanding of art history. And while Edward Burne-Jones, a second-generation Pre-Raphaelite, frequently visited Italy to view Renaissance works firsthand, he also collected photographs of artworks, amassing several hundred prints by the 1870s with the help of traveling friends.\u003c/p>\n\u003cfigure id=\"attachment_13836656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg\" alt=\"Dante Gabriel Rossetti, 'Veronica Veronese,' 1872.\" width=\"1200\" height=\"1530\" class=\"size-full wp-image-13836656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1020x1301.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-941x1200.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1180x1505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-960x1224.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-240x306.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-375x478.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-520x663.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dante Gabriel Rossetti, ‘Veronica Veronese,’ 1872. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling from the past to make new things in the present is a cycle of inspiration and influence as old as art itself. But what’s rare and special about \u003ci>Truth & Beauty\u003c/i> is the level of visual indulgence involved. The show invites you to smother your eyeballs in oil and tempera renditions of luscious fabrics, to trace the curve of a neck and bask in the jewel tones of Hunt’s masterpiece show-closer, \u003ci>The Lady of Shalott\u003c/i>. In fact, the best way to view the exhibition is to adopt a languid pose of your own (\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Contrapposto\" rel=\"noopener\" target=\"_blank\">contrapposto\u003c/a>\u003c/em> if you like), absorb aesthetic lessons so powerful they continue to inform our everyday understandings of beauty, and allow yourself that oh-so-momentary escape.\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>\u003ci>‘Truth & Beauty: The Pre-Raphaelites and the Old Masters’ is on view at the Legion of Honor through Sept. 30, 2018. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/truth-and-beauty-pre-raphaelites-and-old-masters\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Truth & Beauty: The Pre-Raphaelites and the Old Masters\u003c/i> is an escape. In the mausoleum-like lower galleries at the Legion of Honor, there are no windows to remind you of the outside world. There’s also no cell service, so those terrifying push notifications can’t reach you. Absent these external reminders, the galleries and their contents create a sense of timelessness, aided by the fact that they’re filled with art spanning nearly eight centuries. \u003c/p>\n\u003cp>The Pre-Raphaelite Brotherhood, formed in 1848 by art students at London’s Royal Academy (more on that unfortunate naming decision later), pulled unapologetically from the old masters in their quest to express “truth to nature.” This means, among the works spanning centuries, an echoing of style and subject matter blurs the lines between the very old and slightly less old. The paintings, textiles and prints of both the Pre-Raphaelites and the medieval and Renaissance artists they admired are full of vibrant colors, angular poses, dense symbolism and romantic scenes, amounting to six galleries of pure beauty. \u003c/p>\n\u003cfigure id=\"attachment_13836657\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg\" alt=\"John Roddam Spencer Stanhope, 'Love and the Maiden,' 1877.\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13836657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-520x358.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Roddam Spencer Stanhope, ‘Love and the Maiden,’ 1877. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we get too far into the contents of those galleries: the name. The Pre-Raphaelite Brotherhood formed a full 328 years \u003cem>after\u003c/em> the death of the Italian High Renaissance artist Raffaello Sanzio da Urbino (a.k.a. Raphael). Though these young art students did admire the work that came before Raphael, their primary stance was against the “Raphaelites,” the followers and imitators of Raphael who (they believed) regurgitated past methods without giving them new energy or significance. Being a Pre-Raphaelite meant returning to the primary source material—the old masters and nature itself. \u003c/p>\n\u003cp>The Legion of Honor exhibition, curated by the Fine Arts Museums’ Director of the Art Division Melissa Buron, focuses on three founding members of the “brotherhood,” William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, tracing their influences and protégées into the 20th century. The group took to heart the words of art critic (and Pre-Raphaelite champion) John Ruskin, to “go to nature in all singleness of heart … rejecting nothing, selecting nothing, and scorning nothing … and rejoicing always in the truth.”\u003c/p>\n\u003cfigure id=\"attachment_13836660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg\" alt=\"John Everett Millais, 'Mariana,' 1851.\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13836660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-979x1200.jpg 979w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1180x1446.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-960x1177.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-375x460.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-520x637.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Everett Millais, ‘Mariana,’ 1851. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early Pre-Raphaelite works, this meant precision. In the 1851 painting \u003ci>Mariana\u003c/i>, Millais depicts a character from Shakespeare’s \u003ci>Measure for Measure\u003c/i>, inspired by an Alfred, Lord Tennyson poem. The titular figure stands up from her floral needlework to stretch her back, leaves scattered around her workspace and outside her window. See, Millais seems to say, she too studies nature!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the women in the Pre-Raphaelites’ paintings engage in far less strenuous tasks. Rossetti’s redheads (most modeled after Jane Morris) brush their hair, drape their fingers across stringed instruments, hold pomegranates or branches, or simply fiddle with their jewelry, their milky necks arched and tilted to emphasize strong jawlines.\u003c/p>\n\u003cfigure id=\"attachment_13836654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg\" alt=\"Installation view of Sando Botticelli, 'Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),' ca. 1475.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13836654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sando Botticelli, ‘Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),’ ca. 1475. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to follow the path of visual influence from portraits by Sandro Botticelli and Paolo Veronese to these women, but to do so within the space of just a few galleries feels luxurious. Not even the Pre-Raphaelites had such ready access to the Renaissance paintings they so admired. In the era of Google image search, we forget about the many translations between painting, print and copy that transpired before artists in England might chance upon an image of an artwork in Italy. \u003c/p>\n\u003cp>Reproductions fed their practices. At their very first meeting, before any of the Pre-Raphaelites traveled abroad, Millais showed Hunt and Rossetti prints made after the frescoes in the Campo Santo in Pisa. The \u003ca href=\"http://www.vam.ac.uk/content/journals/conservation-journal/issue-23/the-arundel-society-techniques-in-the-art-of-copying/\" rel=\"noopener\" target=\"_blank\">Arundel Society\u003c/a>, founded by Ruskin in 1848, commissioned copies of European masterworks to promote a deeper understanding of art history. And while Edward Burne-Jones, a second-generation Pre-Raphaelite, frequently visited Italy to view Renaissance works firsthand, he also collected photographs of artworks, amassing several hundred prints by the 1870s with the help of traveling friends.\u003c/p>\n\u003cfigure id=\"attachment_13836656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg\" alt=\"Dante Gabriel Rossetti, 'Veronica Veronese,' 1872.\" width=\"1200\" height=\"1530\" class=\"size-full wp-image-13836656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1020x1301.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-941x1200.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1180x1505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-960x1224.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-240x306.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-375x478.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-520x663.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dante Gabriel Rossetti, ‘Veronica Veronese,’ 1872. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling from the past to make new things in the present is a cycle of inspiration and influence as old as art itself. But what’s rare and special about \u003ci>Truth & Beauty\u003c/i> is the level of visual indulgence involved. The show invites you to smother your eyeballs in oil and tempera renditions of luscious fabrics, to trace the curve of a neck and bask in the jewel tones of Hunt’s masterpiece show-closer, \u003ci>The Lady of Shalott\u003c/i>. In fact, the best way to view the exhibition is to adopt a languid pose of your own (\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Contrapposto\" rel=\"noopener\" target=\"_blank\">contrapposto\u003c/a>\u003c/em> if you like), absorb aesthetic lessons so powerful they continue to inform our everyday understandings of beauty, and allow yourself that oh-so-momentary escape.\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>\u003ci>‘Truth & Beauty: The Pre-Raphaelites and the Old Masters’ is on view at the Legion of Honor through Sept. 30, 2018. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/truth-and-beauty-pre-raphaelites-and-old-masters\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein",
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"headTitle": "Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein | KQED",
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"content": "\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=fxHsbkuXNOc]\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "As Max Hollein departs from San Francisco for The Met later this year, the hunt is on for a new director of FAMSF.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fxHsbkuXNOc'\n title='//www.youtube.com/embed/fxHsbkuXNOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R4zu3TegSFI'\n title='//www.youtube.com/embed/R4zu3TegSFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "The Do List's Favorite Museum Shows During the Holidays",
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"content": "\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "At Legion of Honor, Sarah Lucas Mocks Rodin's Muse",
"headTitle": "At Legion of Honor, Sarah Lucas Mocks Rodin’s Muse | KQED",
"content": "\u003cp>If the Legion of Honor’s grandiose marble architecture evokes a regal sincerity plucked from the past, then British sculptor Sarah Lucas’ work, installed through September between the building’s towering columns, functions like a pleasurable punchline.\u003c/p>\n\u003cp>Picture: In the center of the museum’s circular foyer sits a horizontal freezer, upon which lays a cement mold of a lounging figure, ass in the air and cigarette in the anus — as if smoking away the institution’s perceived self-seriousness.\u003c/p>\n\u003cp>Lucas is known for making bawdy sculptures that expose our crude conceptions of gender and bodies, using humor and androgyny to disarm the objectifying male gaze. The celebrated artist’s work appears at the museum for \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Muse\u003c/em>\u003c/a>, on view through Sept. 17, and constitutes her first major exhibition in an American museum.\u003c/p>\n\u003cfigure id=\"attachment_13703456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5783-e1500925604502.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1200\" height=\"801\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is the second of two curated in response to \u003cem>\u003ca href=\"http://legionofhonor.famsf.org/auguste-rodin-centenary-installation\" target=\"_blank\" rel=\"noopener noreferrer\">Auguste Rodin: The Centenary Installation\u003c/a>, \u003c/em>which featured about 50 Rodin pieces from the Fine Arts Museums of San Francisco’s collection in honor of the 100th anniversary of the sculptor’s death. While the Rodin exhibition officially ended on April 9, the majority of the works included remain on view.\u003c/p>\n\u003cp>Rather than giving Lucas her own gallery, curator Claudia Schmuckli strategically placed her pieces throughout the Rodin installation (and in nearby galleries featuring classic paintings), a move that simultaneously breathes fresh life into Rodin’s figures and gives Lucas’ an easy target to mock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pairings such as this one always have the potential to be gimmicky, setting up dichotomies — classic and contemporary, male and female, phallocentric and feminist — that foreground spectacle over intellectual provocation. \u003cem>Good Muse\u003c/em> doesn’t necessarily avoid that trap, but dives into it with such deliberate grace that it doesn’t feel cheap.\u003c/p>\n\u003cp>Instead of simply instrumentalizing Lucas’ work as an example of the feminist counter-gaze, \u003cem>Good Muse\u003c/em> unleashes her sculptures to play — amid an environment that underlines its intentions from every angle. With prominent placement in every gallery in which it appears, there’s a clear sense that the Schmuckli takes the work seriously, and is earnest in her intentions of inciting conversation around the way that bodies are eroticized in revered work such as Rodin’s.\u003c/p>\n\u003cfigure id=\"attachment_13703457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of “Sarah Lucas: Good Muse” at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the main gallery, small to medium bronze figures by Rodin presented on pedestals exhibit incredible technical prowess and an appreciation for the human form — in all its idealized musculature — as a poetic medium for relaying emotional states. With their tough and shiny surfaces, they feel like everlasting relics destined to forever uphold a static sense of How Bodies Should Be.\u003c/p>\n\u003cp>But between them sit seven \u003cem>Floppy Toilets \u003c/em>by Lucas: scrunched urinals cast in orange and yellow resin sitting atop mini fridges. Translucent and almost glowing in the gallery lights, the sculptures look like Jell-O molds left out in the sun too long. Drooping onto themselves, they resemble the folds in a stomach — a general abstraction of curves and bulges that question what constitutes a body.\u003c/p>\n\u003cp>In the center of this scene, two massive concrete casts of legs in high heels prescribe a femme sense of domination that’s unbothered by the precarity of standing on stilts. And at the back, three toned and naked figures from Rodin’s \u003cem>Gates of Hell\u003c/em>, which he worked on throughout the last two decades of his life, are arranged together in a dramatic pose. Lucas adds three of her own figures: floppy dolls made of stuffed pantyhose hang hilariously from various parts of the historic bronze, inserting a sense of suppleness and flesh that Rodin’s piece leaves out.\u003c/p>\n\u003cfigure id=\"attachment_13732667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13732667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that last instance, the interaction between the works begins to feel a little audacious, but in a way that’s difficult not to simply eat up. With sculptures seeping into surrounding galleries, it’s as if Lucas is punking all of Western art historical discourse, showing up to some fancy gala uninvited. It’s an exhilarating curatorial choice that exhibits an admirable sense of humility on the part of the museum. Ultimately, \u003cem>Good Muse \u003c/em>offers up the Legion’s entire collection to questioning through a feminist lens, risking more conservative patrons feeling confused.\u003c/p>\n\u003cp>Perhaps it’s my personal preferences, but the show’s only distracting shortcoming was that I found it difficult to appreciate Rodin’s work in the presence of Lucas’, which, despite being far less realistic, exuded a potent bodily presence that made it hard to look away. The Legion of Honor’s marquee statue is a cast of Rodin’s most famous work, \u003cem>The Thinker\u003c/em>, which appears alone in a grand courtyard at the museum’s entrance. Bent forward in deep thought with his chin on his clenched fist, the statue is an international symbol of male intellect and philosophical inquiry. But I was more struck by Lucas’ \u003cem>INNAMEMORABILIAMBUM, \u003c/em>installed in a corner gallery: A soft figure with crossed arms leans back in a chair, a three-foot erect phallus protruding from its crotch into the air. Just another take.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Good Muse’ is on view at the Legion of Honor in San Francisco through Sept. 17. For more information, \u003ca href=\"http://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Intermingled among the Legion of Honor's Rodin collection, Sarah Lucas' bawdy sculptures function like a pleasurable punchline.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the Legion of Honor’s grandiose marble architecture evokes a regal sincerity plucked from the past, then British sculptor Sarah Lucas’ work, installed through September between the building’s towering columns, functions like a pleasurable punchline.\u003c/p>\n\u003cp>Picture: In the center of the museum’s circular foyer sits a horizontal freezer, upon which lays a cement mold of a lounging figure, ass in the air and cigarette in the anus — as if smoking away the institution’s perceived self-seriousness.\u003c/p>\n\u003cp>Lucas is known for making bawdy sculptures that expose our crude conceptions of gender and bodies, using humor and androgyny to disarm the objectifying male gaze. The celebrated artist’s work appears at the museum for \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Muse\u003c/em>\u003c/a>, on view through Sept. 17, and constitutes her first major exhibition in an American museum.\u003c/p>\n\u003cfigure id=\"attachment_13703456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5783-e1500925604502.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1200\" height=\"801\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is the second of two curated in response to \u003cem>\u003ca href=\"http://legionofhonor.famsf.org/auguste-rodin-centenary-installation\" target=\"_blank\" rel=\"noopener noreferrer\">Auguste Rodin: The Centenary Installation\u003c/a>, \u003c/em>which featured about 50 Rodin pieces from the Fine Arts Museums of San Francisco’s collection in honor of the 100th anniversary of the sculptor’s death. While the Rodin exhibition officially ended on April 9, the majority of the works included remain on view.\u003c/p>\n\u003cp>Rather than giving Lucas her own gallery, curator Claudia Schmuckli strategically placed her pieces throughout the Rodin installation (and in nearby galleries featuring classic paintings), a move that simultaneously breathes fresh life into Rodin’s figures and gives Lucas’ an easy target to mock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pairings such as this one always have the potential to be gimmicky, setting up dichotomies — classic and contemporary, male and female, phallocentric and feminist — that foreground spectacle over intellectual provocation. \u003cem>Good Muse\u003c/em> doesn’t necessarily avoid that trap, but dives into it with such deliberate grace that it doesn’t feel cheap.\u003c/p>\n\u003cp>Instead of simply instrumentalizing Lucas’ work as an example of the feminist counter-gaze, \u003cem>Good Muse\u003c/em> unleashes her sculptures to play — amid an environment that underlines its intentions from every angle. With prominent placement in every gallery in which it appears, there’s a clear sense that the Schmuckli takes the work seriously, and is earnest in her intentions of inciting conversation around the way that bodies are eroticized in revered work such as Rodin’s.\u003c/p>\n\u003cfigure id=\"attachment_13703457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DEY5773-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of “Sarah Lucas: Good Muse” at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the main gallery, small to medium bronze figures by Rodin presented on pedestals exhibit incredible technical prowess and an appreciation for the human form — in all its idealized musculature — as a poetic medium for relaying emotional states. With their tough and shiny surfaces, they feel like everlasting relics destined to forever uphold a static sense of How Bodies Should Be.\u003c/p>\n\u003cp>But between them sit seven \u003cem>Floppy Toilets \u003c/em>by Lucas: scrunched urinals cast in orange and yellow resin sitting atop mini fridges. Translucent and almost glowing in the gallery lights, the sculptures look like Jell-O molds left out in the sun too long. Drooping onto themselves, they resemble the folds in a stomach — a general abstraction of curves and bulges that question what constitutes a body.\u003c/p>\n\u003cp>In the center of this scene, two massive concrete casts of legs in high heels prescribe a femme sense of domination that’s unbothered by the precarity of standing on stilts. And at the back, three toned and naked figures from Rodin’s \u003cem>Gates of Hell\u003c/em>, which he worked on throughout the last two decades of his life, are arranged together in a dramatic pose. Lucas adds three of her own figures: floppy dolls made of stuffed pantyhose hang hilariously from various parts of the historic bronze, inserting a sense of suppleness and flesh that Rodin’s piece leaves out.\u003c/p>\n\u003cfigure id=\"attachment_13732667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13732667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg\" alt=\"Installation view of 'Sarah Lucas: Good Muse' at the Legion of Honor.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LucasCOVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sarah Lucas: Good Muse’ at the Legion of Honor. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that last instance, the interaction between the works begins to feel a little audacious, but in a way that’s difficult not to simply eat up. With sculptures seeping into surrounding galleries, it’s as if Lucas is punking all of Western art historical discourse, showing up to some fancy gala uninvited. It’s an exhilarating curatorial choice that exhibits an admirable sense of humility on the part of the museum. Ultimately, \u003cem>Good Muse \u003c/em>offers up the Legion’s entire collection to questioning through a feminist lens, risking more conservative patrons feeling confused.\u003c/p>\n\u003cp>Perhaps it’s my personal preferences, but the show’s only distracting shortcoming was that I found it difficult to appreciate Rodin’s work in the presence of Lucas’, which, despite being far less realistic, exuded a potent bodily presence that made it hard to look away. The Legion of Honor’s marquee statue is a cast of Rodin’s most famous work, \u003cem>The Thinker\u003c/em>, which appears alone in a grand courtyard at the museum’s entrance. Bent forward in deep thought with his chin on his clenched fist, the statue is an international symbol of male intellect and philosophical inquiry. But I was more struck by Lucas’ \u003cem>INNAMEMORABILIAMBUM, \u003c/em>installed in a corner gallery: A soft figure with crossed arms leans back in a chair, a three-foot erect phallus protruding from its crotch into the air. Just another take.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Good Muse’ is on view at the Legion of Honor in San Francisco through Sept. 17. For more information, \u003ca href=\"http://legionofhonor.famsf.org/exhibitions/sarah-lucas\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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?",
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"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. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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}
