Six Decades of Painting Black History
Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2
At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work
Nyame Brown’s Black World-Building Depicts a Necessary Future
‘Sargent and Spain’ Is Full of Hits, But Still Holds Surprises
Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy
Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces
Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’
In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art
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Ira says he feared what his punishment might be, so after the accident he just kept going.\u003c/p>\n\u003cfigure id=\"attachment_13952336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg\" alt=\"Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He arrived in the Bay Area, stopping first in Richmond before moving to San Francisco, where he fell in love with the bustling, big city. He hung out in the Tenderloin where the extravagant nightlife kept him entertained, and he’d frequent pool halls in the Dogpatch neighborhood– as he was a self-proclaimed pool shark.\u003c/p>\n\u003cp>His life took on a new chapter when he stumbled into Hospitality House, a community-based organization. There he was given the necessary resources and guidance to launch his career as a painter; and he hasn’t stop painting since.\u003c/p>\n\u003cp>His work has graced walls in his Bayview neighborhood and has been shown at the Tenderloin Museum. He’s also painted a huge mural in his hometown of Waco, Texas, where the city dedicated a day in his honor– now every January 17 is “Ira Watkins Day.”\u003c/p>\n\u003cp>This week we talk about Black history with someone who has seen it firsthand, and used his hands to make sure the stories are passed on.\u003c/p>\n\u003cfigure id=\"attachment_13952339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg\" alt='\"Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!\"- Ira Watkins' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!”- Ira Watkins \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ira’s work can be seen in the \u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" data-sk=\"tooltip_parent\">Black on Point\u003c/a>\u003c/i> exhibit at Cafe Alma in the Bayview. The exhibit runs February 5, 2024 – March 2, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9778775184\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003c/h2>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey\u003c/span> \u003cspan style=\"font-weight: 400\">what’s up y’all? Welcome to Rightnowish. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to a brother who is a longtime visual artist, a former pool shark and a living example of the impact of the Great Migration. His name is Ira Watkins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s a well-renowned artist who’s been painting for decades. And since leaving the south and arriving in the Bay Area in the mid 1900s, Ira has been constantly contributing to the culture of this region.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His work can be found on walls in the Bayview, in a studio in the Hunter’s Point Shipyard, and at the Tenderloin Museum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His paintings are filled with Black faces with pronounced features, wide smiles and rosy cheeks. And in just about every painting there are these little details referring to historical facts or figures– almost like easter eggs for those who are paying attention. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his most famous paintings led to the creation of Ira Watkins day in his hometown of Waco, Texas. It’s a long expansive mural depicting major historical events and local landmarks from the Waco area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A small version of it was the first thing that caught my attention when Rightnowish’s Marisol Medina-Cadena and I pulled up to his studio in Hunter’s Point. We talked about that image, as well as the importance of preserving history through art, and the thriving culture of the Tenderloin back in the day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More from Ira Watkins after this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re in your studio, in the Hunters Point shipyard. As soon as I walked in, I felt like I was in a museum as well as, like, it’s familial. It’s Black faces. There’s Harriet Tubman, there’s Frederick Douglass, as well as people I could identify looking like community members or people from history books. And it’s artistic. It’s flavorful. There’s so much to pull from. I’m like, there’s stories behind every piece. And the first piece you introduced me to was this one up top. What’s the story behind this piece right here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span> \u003cspan style=\"font-weight: 400\">had did the, uh, Martin Luther King mural project in Waco, Texas, which they named a day after me for doing that project. Then Doreen Ravenscroft got in touch with me and asked me would I be interested in doing a mural pertaining to South Waco. I told her “yeah”, she said, “well do me a design.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">So I got a book pertaining to the history of McLennan County, which is Waco is in. It’s the biggest city in McLennan County.\u003c/span> \u003cspan style=\"font-weight: 400\">Then from there, I got an idea. That bridge is represent the oldest, uh, one of the oldest suspension bridges in the USA. It’s a tourist attraction where they just have events on it. No traffic has been on it for years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over here on the left is, uh, in 1953, the tornado came through Waco and wiped it out, downtown section. This on this end over here represent the, uh, tornado and the destruction and everything.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It still tells an amazing story. There’s a lot of history depicted in it, and the fact that it’s the blueprint for a larger piece that still stands today is really impressive.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is a day in the life like for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">This is my life right here. I come here every day! The lady that works in the office, she say, “Do you, uh, paint every day?” I say ‘Yeah. I like to create.’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people just like to paint flowers. I don’t knock them, that’s their approach to art. But my approach to art is I try to tell a story with what I knew about or read about, a vision from me is to try to get it out there, to give you a different opinion to history. You know, that’s, that’s all it is to me. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a self-taught artist, and I just do stuff and hope that it tells a story. Take that big picture. Not that..the big one. The first picture up here.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhm.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I done had all kind of comments on that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The depiction is… um, or the thing that pops out is on the left side there’s a big green book which says “his story.” And the other one, it’s an upside down King James Holy Bible. And in between the two books are the words-\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Well you see what it says in the middle?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, “two big lies” right in the middle of it. Yeah. And then behind them are, uh, the community of Black folks. Even further beyond them, it looks like there’s some people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Picking cotton.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Where you see the field, labor and all that stuff, the horses and mules and cotton and stuff like that? But the history, Columbus. They taught that shit in school. Columbus discovered America. Well what about all the people there waving at his ass when he come ashore? You know, what about their history? Then, the Bible, King James version, anytime you say “version,” you’re copying. And anytime you copy something, you’re going to interpret something different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">You were born in Waco, Texas, but you live here and you’ve been doing so for a while, a couple decades. So what brought you to San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I wrecked my mom’s car, and I didn’t want to get my butt whooped, so I just took off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My oldest brother could get the car and when he had it, All I had to do was find him because he hung at the pool hall and stuff like this here. “Hey, man let me use the car for a minute.” “All right. Just don’t go down this way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And one day, one of my oldest friends who’s still alive today. He pull…“Who you got in the car with you, man?” “Man, don’t let him see it.” That started the race. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Next thing you know, we didn’t run into no car. We bumped each other and went up and believe it or not, hit a house and knocked the house off the foundation,one block, no, two blocks up the street from where my parents lived.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when my father came down and, you know, like spectators and everything. My father told me, said, “I don’t know what kind of lie you tellin’ them, but I could look at them tire tracks and tell you was racing. I’ll see you when you get home.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I kept going. I didn’t go home. I wasn’t going to be able to stand that part. Not that my father was no cruel person, but his word was law.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">So you picked the Bay area because you had an uncle in Richmond?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">My oldest brother lived in Los Angeles. I stayed in Los Angeles. My uncle came through. My uncle… one of those guys that had his government contracts all over the world. Got in a car, came to Richmond, California. Got relatives over there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And my uncle told me “Anywhere in the USA you want to go, I’ll get you a one way ticket.” I came to San Francisco, and I ain’t never regret it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And plus, during that time, I was a real good pool player. I shot pool good enough, I couldn’t make no living where I’d be having big time money. But I could keep the cheat off me. I could eat, and get me- see, when I came to San Francisco. You could get a room, man, cheap. I mean, real cheap. You can’t do that no more. Hell, they want $100, $200 for fleabag now in San Francisco you know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">The tenderloin district when I came here was lit up like Vegas and everything. All kind of neon lights and everything was down there, man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So would you consider yourself like a pool shark back in the day?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Billiards SFX]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I would say that. I used to hitchhike around a lot and I guess go to place- I don’t carry no pool cue with me, but I go to a place where they had these little mini pool tables and stuff and just stand around and watch people. ‘Aww, hell, I can beat him.’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ‘I could beat this one.’ You know, you let them win some, you win some. But the whole thing is when you leave, you just want to have enough money to survive on. And then you come back tomorrow and beat 2 or 3 people then move on. You know, that’s how that went, man. And Dogpatch here, used to have a pool hall right down Tennessee and was a 22nd I think it is, but it used to be a pool hall there. I used to go there every day and win some money every day.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You started to paint the picture of what San Francisco looked like when you first got here and I wanted to kind of put it in context. You coming up here in the mid 50s, the, uh, mid 1900s in general was known for this massive influx of Black folks from the south coming up in what’s deemed the Great Migration. And I’m wondering from your perspective, did you see San Francisco get Blacker?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">See when I came, if you was on Hayes and Fillmore and you looking towards Geary, man all you seen was Cadillacs and Buicks and things, Black people. Now they had other races, but it was predominantly Black people. They had a hotel called the Booker T. Washington. This place here was about nine stories high. It was owned by a Black dude out of New Orleans called Red Duvene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All I could say is San Francisco back during that time was thriving. They had a theater on Market street, see Market used to have about four or five theaters on it. They had one called the Emerson. Everybody and any and everyone that was down and out or anything, that’s where you can meet them at, at the Emerson. All you have to do is go in and get your $1 per ticket. I think it opened at 9:30 to 11:00 at night. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T\u003c/b>\u003cspan style=\"font-weight: 400\">hey had Fosters restaurants all over San Francisco. You could go and sit in and get your cup of coffee and get your newspaper and sit there and just pretend that you’re drinking your coffee or whatever, ‘cause some more people that you know, that’s in the street, they’re gon’ come in and sit somewhere around here, have a few minutes conversation and boom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you really looked at the reality part, it was hell. But on the other hand, it was cool. I done been to most of the states in the USA, and this is the best city that I’ve been to, San Francisco. Los Angeles is all right, but then it can’t compare to San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarivs Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">I love the way you talk about personal survival as well as community survival, and also how you eventually gravitated toward the arts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You got your start making art at this place called\u003c/span>\u003ca href=\"https://www.hospitalityhouse.org/\">\u003cspan style=\"font-weight: 400\"> Hospitality House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It was later on in life, when I got to the part where I started, uh, I got involved in house painting with one of my relatives and that is how I learned the five basic colors of paint and through that, over the years, I guess developed from there. And then when I went to the Central City Hospitality House, a friend of mine who had told me, say, “You always talk about how good you can draw and paint. I know this place, man that if you can draw, they’ll give you all the supplies and sell your paintings if it’s worth anything.” I couldn’t believe that shit. And I had passed by this place hundreds of times and never even thought about going on inside!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I stepped through the door and the guy say, uh, “Can I help you?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I say, “Yeah, I want to see about, uh, joining an art program here.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Can you paint?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I said, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “Can you give me a demonstration?” And I started going. After about a month. They asked me would I be interested in volunteering. I stayed there, volunteering for about five years in that program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I never got involved in, uh, you know, welfare and stuff like it. I never had anything to do with them until I got to the Hospitality House, and they made it possible for me to get food stamps, a check and all of this stuff. So that’s how come I stayed there volunteering for five years but at the same time, I had kind of got away from hustling the pool in the streets and things for the simple reason, you know, I would, not every day, but I sell a picture, $150, $200. Well, that was cool to me because hell, I had never been selling nothing. If you wanted something painted, I’d paint you a picture. if you gave me something, cool, if you didn’t, you know, if you was just my friend I was doing something for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So then, uh, my work started selling. Then a little bit more. Then next thing, I start getting interviews. I just, all kind of things started happening for me. And I just, like today, I just tell everybody, thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you currently live on Third Street in the George Davis Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yup. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s that like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s great for the simple reason: I got a roof over my head. I got an apartment that I can afford.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, like I shoot pool cause they have a pool table there. I play dominoes, but it’s been maybe about a month since I went did that because, you know, you just get burned out hearing death stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t want to sit around and be around, I’m 82, I don’t want to hang around no 82 year old peoples all the time. Hell \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For what? What are we going to talk about? “Are you going here?” I hear enough of them. They talk about doctors. Hell, I don’t want to hear about your sickness. No, I’m just telling you like it is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you ever teach art to them?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I started the art class there, and, for about three years, and then, uh, I just moved on. I’m involved enough with my personal art thing. That’s the reason I stopped because it made me be obligated on Tuesdays to go and open up the studio, the art room there. I got enough on my plate, I might say, for me to do. How many more years I’m gon’ to be around here on the planet? And I want to enjoy the rest of my time for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Love it. You’re so active. You’re so focused. You know what you want to do. You know why you here. And I’m like… I’m wondering, is there any advice that you can give to younger artists who want to walk a similar path and have a long, luxurious career as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> You\u003c/span> \u003cspan style=\"font-weight: 400\">gotta be your own self. You can’t be tripping off of what other people think of you. They always gon’ have that negative view. Even people that, when I say negative view, people that you socialize with, that you consider your friend and everything, that you went to elementary school with and all of that. You’re not going to be tight with them all the time. Ya’ll gon’ have friction, you know? So you have to stay focused on you, you’re first, before you can reach out to other people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Best thing I could tell a young person, If you go get a job, that don’t mean that you’re going to be, uh, financially successful. That don’t mean that you’re going to have all the shit that you want. But if you go get a job, if it’s flipping hamburgers at McDonald’s or Burger King or something like this here, in the long run, you’ll come out better than standing on that corner down there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s the older you get, the less energy that you have to do any-damn-thing. Well, when you get up to about 60, whole lot of energy is gone. But the guy that’s been flipping the hamburger can count on a Social Security check. You can’t count on nobody because you didn’t plot!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It makes sense. What it boils all down to is investing in yourself. Yeah. Investing in yourself and being aware of the benefits, the long term benefits of what it looks like to invest in yourself, consistently. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A lifetime dedicated to art, shooting pool and staying on the move. Ira Watkins, thank you. Thank you for sharing a bit of your story with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For all of my folks out there listening, Ira isn’t online– he doesn’t do the social media thing. But his work is readily on display at his space in the \u003c/span>\u003ca href=\"https://www.shipyardartists.com/\">\u003cspan style=\"font-weight: 400\"> Hunter’s Point Shipyard Arts Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, I’d add that there are so many other artists out there just like Ira– self taught, doing their work to preserve history, and making art every single day, so I ask that you stop by a local museum or attend an art show. Not only do the artists benefit from this, you will as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw and Marisol Medina Cadena. It was produced by Sheree Bishop. Chris Hambrick is our editor. Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Black History Month, ya’ll. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Ira Watkins is a self-taught visual artist who has been documenting Black history for decades.","status":"publish","parent":0,"modified":1713208603,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":92,"wordCount":3743},"headData":{"title":"Six Decades of Painting Black History | KQED","description":"Ira Watkins paints Black history while living it. He's a self-taught visual artist who has been using dazzling colors, expressive images and hidden messages to document Black history for decades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Ira Watkins paints Black history while living it. He's a self-taught visual artist who has been using dazzling colors, expressive images and hidden messages to document Black history for decades.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Six Decades of Painting Black History","datePublished":"2024-02-15T11:00:48.000Z","dateModified":"2024-04-15T19:16:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC9778775184.mp3?updated=1707962609","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952329/six-decades-of-painting-black-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Ira Watkins paints Black history while living it.\u003c/p>\n\u003cp>He’s a self-taught visual artist who has been using dazzling colors, expressive images and hidden messages to document Black history for decades.\u003c/p>\n\u003cp>Originally from Waco, Texas, Ira left the south in 1957 on the heels of a street racing accident that knocked a house off of its foundation. Ira says he feared what his punishment might be, so after the accident he just kept going.\u003c/p>\n\u003cfigure id=\"attachment_13952336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg\" alt=\"Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He arrived in the Bay Area, stopping first in Richmond before moving to San Francisco, where he fell in love with the bustling, big city. He hung out in the Tenderloin where the extravagant nightlife kept him entertained, and he’d frequent pool halls in the Dogpatch neighborhood– as he was a self-proclaimed pool shark.\u003c/p>\n\u003cp>His life took on a new chapter when he stumbled into Hospitality House, a community-based organization. There he was given the necessary resources and guidance to launch his career as a painter; and he hasn’t stop painting since.\u003c/p>\n\u003cp>His work has graced walls in his Bayview neighborhood and has been shown at the Tenderloin Museum. He’s also painted a huge mural in his hometown of Waco, Texas, where the city dedicated a day in his honor– now every January 17 is “Ira Watkins Day.”\u003c/p>\n\u003cp>This week we talk about Black history with someone who has seen it firsthand, and used his hands to make sure the stories are passed on.\u003c/p>\n\u003cfigure id=\"attachment_13952339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg\" alt='\"Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!\"- Ira Watkins' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!”- Ira Watkins \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ira’s work can be seen in the \u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" data-sk=\"tooltip_parent\">Black on Point\u003c/a>\u003c/i> exhibit at Cafe Alma in the Bayview. The exhibit runs February 5, 2024 – March 2, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9778775184\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003c/h2>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey\u003c/span> \u003cspan style=\"font-weight: 400\">what’s up y’all? Welcome to Rightnowish. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to a brother who is a longtime visual artist, a former pool shark and a living example of the impact of the Great Migration. His name is Ira Watkins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s a well-renowned artist who’s been painting for decades. And since leaving the south and arriving in the Bay Area in the mid 1900s, Ira has been constantly contributing to the culture of this region.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His work can be found on walls in the Bayview, in a studio in the Hunter’s Point Shipyard, and at the Tenderloin Museum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His paintings are filled with Black faces with pronounced features, wide smiles and rosy cheeks. And in just about every painting there are these little details referring to historical facts or figures– almost like easter eggs for those who are paying attention. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his most famous paintings led to the creation of Ira Watkins day in his hometown of Waco, Texas. It’s a long expansive mural depicting major historical events and local landmarks from the Waco area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A small version of it was the first thing that caught my attention when Rightnowish’s Marisol Medina-Cadena and I pulled up to his studio in Hunter’s Point. We talked about that image, as well as the importance of preserving history through art, and the thriving culture of the Tenderloin back in the day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More from Ira Watkins after this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re in your studio, in the Hunters Point shipyard. As soon as I walked in, I felt like I was in a museum as well as, like, it’s familial. It’s Black faces. There’s Harriet Tubman, there’s Frederick Douglass, as well as people I could identify looking like community members or people from history books. And it’s artistic. It’s flavorful. There’s so much to pull from. I’m like, there’s stories behind every piece. And the first piece you introduced me to was this one up top. What’s the story behind this piece right here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span> \u003cspan style=\"font-weight: 400\">had did the, uh, Martin Luther King mural project in Waco, Texas, which they named a day after me for doing that project. Then Doreen Ravenscroft got in touch with me and asked me would I be interested in doing a mural pertaining to South Waco. I told her “yeah”, she said, “well do me a design.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">So I got a book pertaining to the history of McLennan County, which is Waco is in. It’s the biggest city in McLennan County.\u003c/span> \u003cspan style=\"font-weight: 400\">Then from there, I got an idea. That bridge is represent the oldest, uh, one of the oldest suspension bridges in the USA. It’s a tourist attraction where they just have events on it. No traffic has been on it for years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over here on the left is, uh, in 1953, the tornado came through Waco and wiped it out, downtown section. This on this end over here represent the, uh, tornado and the destruction and everything.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It still tells an amazing story. There’s a lot of history depicted in it, and the fact that it’s the blueprint for a larger piece that still stands today is really impressive.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is a day in the life like for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">This is my life right here. I come here every day! The lady that works in the office, she say, “Do you, uh, paint every day?” I say ‘Yeah. I like to create.’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people just like to paint flowers. I don’t knock them, that’s their approach to art. But my approach to art is I try to tell a story with what I knew about or read about, a vision from me is to try to get it out there, to give you a different opinion to history. You know, that’s, that’s all it is to me. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a self-taught artist, and I just do stuff and hope that it tells a story. Take that big picture. Not that..the big one. The first picture up here.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhm.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I done had all kind of comments on that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The depiction is… um, or the thing that pops out is on the left side there’s a big green book which says “his story.” And the other one, it’s an upside down King James Holy Bible. And in between the two books are the words-\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Well you see what it says in the middle?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, “two big lies” right in the middle of it. Yeah. And then behind them are, uh, the community of Black folks. Even further beyond them, it looks like there’s some people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Picking cotton.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Where you see the field, labor and all that stuff, the horses and mules and cotton and stuff like that? But the history, Columbus. They taught that shit in school. Columbus discovered America. Well what about all the people there waving at his ass when he come ashore? You know, what about their history? Then, the Bible, King James version, anytime you say “version,” you’re copying. And anytime you copy something, you’re going to interpret something different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">You were born in Waco, Texas, but you live here and you’ve been doing so for a while, a couple decades. So what brought you to San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I wrecked my mom’s car, and I didn’t want to get my butt whooped, so I just took off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My oldest brother could get the car and when he had it, All I had to do was find him because he hung at the pool hall and stuff like this here. “Hey, man let me use the car for a minute.” “All right. Just don’t go down this way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And one day, one of my oldest friends who’s still alive today. He pull…“Who you got in the car with you, man?” “Man, don’t let him see it.” That started the race. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Next thing you know, we didn’t run into no car. We bumped each other and went up and believe it or not, hit a house and knocked the house off the foundation,one block, no, two blocks up the street from where my parents lived.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when my father came down and, you know, like spectators and everything. My father told me, said, “I don’t know what kind of lie you tellin’ them, but I could look at them tire tracks and tell you was racing. I’ll see you when you get home.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I kept going. I didn’t go home. I wasn’t going to be able to stand that part. Not that my father was no cruel person, but his word was law.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">So you picked the Bay area because you had an uncle in Richmond?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">My oldest brother lived in Los Angeles. I stayed in Los Angeles. My uncle came through. My uncle… one of those guys that had his government contracts all over the world. Got in a car, came to Richmond, California. Got relatives over there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And my uncle told me “Anywhere in the USA you want to go, I’ll get you a one way ticket.” I came to San Francisco, and I ain’t never regret it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And plus, during that time, I was a real good pool player. I shot pool good enough, I couldn’t make no living where I’d be having big time money. But I could keep the cheat off me. I could eat, and get me- see, when I came to San Francisco. You could get a room, man, cheap. I mean, real cheap. You can’t do that no more. Hell, they want $100, $200 for fleabag now in San Francisco you know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">The tenderloin district when I came here was lit up like Vegas and everything. All kind of neon lights and everything was down there, man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So would you consider yourself like a pool shark back in the day?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Billiards SFX]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I would say that. I used to hitchhike around a lot and I guess go to place- I don’t carry no pool cue with me, but I go to a place where they had these little mini pool tables and stuff and just stand around and watch people. ‘Aww, hell, I can beat him.’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ‘I could beat this one.’ You know, you let them win some, you win some. But the whole thing is when you leave, you just want to have enough money to survive on. And then you come back tomorrow and beat 2 or 3 people then move on. You know, that’s how that went, man. And Dogpatch here, used to have a pool hall right down Tennessee and was a 22nd I think it is, but it used to be a pool hall there. I used to go there every day and win some money every day.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You started to paint the picture of what San Francisco looked like when you first got here and I wanted to kind of put it in context. You coming up here in the mid 50s, the, uh, mid 1900s in general was known for this massive influx of Black folks from the south coming up in what’s deemed the Great Migration. And I’m wondering from your perspective, did you see San Francisco get Blacker?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">See when I came, if you was on Hayes and Fillmore and you looking towards Geary, man all you seen was Cadillacs and Buicks and things, Black people. Now they had other races, but it was predominantly Black people. They had a hotel called the Booker T. Washington. This place here was about nine stories high. It was owned by a Black dude out of New Orleans called Red Duvene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All I could say is San Francisco back during that time was thriving. They had a theater on Market street, see Market used to have about four or five theaters on it. They had one called the Emerson. Everybody and any and everyone that was down and out or anything, that’s where you can meet them at, at the Emerson. All you have to do is go in and get your $1 per ticket. I think it opened at 9:30 to 11:00 at night. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T\u003c/b>\u003cspan style=\"font-weight: 400\">hey had Fosters restaurants all over San Francisco. You could go and sit in and get your cup of coffee and get your newspaper and sit there and just pretend that you’re drinking your coffee or whatever, ‘cause some more people that you know, that’s in the street, they’re gon’ come in and sit somewhere around here, have a few minutes conversation and boom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you really looked at the reality part, it was hell. But on the other hand, it was cool. I done been to most of the states in the USA, and this is the best city that I’ve been to, San Francisco. Los Angeles is all right, but then it can’t compare to San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarivs Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">I love the way you talk about personal survival as well as community survival, and also how you eventually gravitated toward the arts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You got your start making art at this place called\u003c/span>\u003ca href=\"https://www.hospitalityhouse.org/\">\u003cspan style=\"font-weight: 400\"> Hospitality House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It was later on in life, when I got to the part where I started, uh, I got involved in house painting with one of my relatives and that is how I learned the five basic colors of paint and through that, over the years, I guess developed from there. And then when I went to the Central City Hospitality House, a friend of mine who had told me, say, “You always talk about how good you can draw and paint. I know this place, man that if you can draw, they’ll give you all the supplies and sell your paintings if it’s worth anything.” I couldn’t believe that shit. And I had passed by this place hundreds of times and never even thought about going on inside!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I stepped through the door and the guy say, uh, “Can I help you?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I say, “Yeah, I want to see about, uh, joining an art program here.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Can you paint?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I said, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “Can you give me a demonstration?” And I started going. After about a month. They asked me would I be interested in volunteering. I stayed there, volunteering for about five years in that program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I never got involved in, uh, you know, welfare and stuff like it. I never had anything to do with them until I got to the Hospitality House, and they made it possible for me to get food stamps, a check and all of this stuff. So that’s how come I stayed there volunteering for five years but at the same time, I had kind of got away from hustling the pool in the streets and things for the simple reason, you know, I would, not every day, but I sell a picture, $150, $200. Well, that was cool to me because hell, I had never been selling nothing. If you wanted something painted, I’d paint you a picture. if you gave me something, cool, if you didn’t, you know, if you was just my friend I was doing something for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So then, uh, my work started selling. Then a little bit more. Then next thing, I start getting interviews. I just, all kind of things started happening for me. And I just, like today, I just tell everybody, thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you currently live on Third Street in the George Davis Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yup. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s that like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s great for the simple reason: I got a roof over my head. I got an apartment that I can afford.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, like I shoot pool cause they have a pool table there. I play dominoes, but it’s been maybe about a month since I went did that because, you know, you just get burned out hearing death stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t want to sit around and be around, I’m 82, I don’t want to hang around no 82 year old peoples all the time. Hell \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For what? What are we going to talk about? “Are you going here?” I hear enough of them. They talk about doctors. Hell, I don’t want to hear about your sickness. No, I’m just telling you like it is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you ever teach art to them?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I started the art class there, and, for about three years, and then, uh, I just moved on. I’m involved enough with my personal art thing. That’s the reason I stopped because it made me be obligated on Tuesdays to go and open up the studio, the art room there. I got enough on my plate, I might say, for me to do. How many more years I’m gon’ to be around here on the planet? And I want to enjoy the rest of my time for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Love it. You’re so active. You’re so focused. You know what you want to do. You know why you here. And I’m like… I’m wondering, is there any advice that you can give to younger artists who want to walk a similar path and have a long, luxurious career as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> You\u003c/span> \u003cspan style=\"font-weight: 400\">gotta be your own self. You can’t be tripping off of what other people think of you. They always gon’ have that negative view. Even people that, when I say negative view, people that you socialize with, that you consider your friend and everything, that you went to elementary school with and all of that. You’re not going to be tight with them all the time. Ya’ll gon’ have friction, you know? So you have to stay focused on you, you’re first, before you can reach out to other people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Best thing I could tell a young person, If you go get a job, that don’t mean that you’re going to be, uh, financially successful. That don’t mean that you’re going to have all the shit that you want. But if you go get a job, if it’s flipping hamburgers at McDonald’s or Burger King or something like this here, in the long run, you’ll come out better than standing on that corner down there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s the older you get, the less energy that you have to do any-damn-thing. Well, when you get up to about 60, whole lot of energy is gone. But the guy that’s been flipping the hamburger can count on a Social Security check. You can’t count on nobody because you didn’t plot!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It makes sense. What it boils all down to is investing in yourself. Yeah. Investing in yourself and being aware of the benefits, the long term benefits of what it looks like to invest in yourself, consistently. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A lifetime dedicated to art, shooting pool and staying on the move. Ira Watkins, thank you. Thank you for sharing a bit of your story with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For all of my folks out there listening, Ira isn’t online– he doesn’t do the social media thing. But his work is readily on display at his space in the \u003c/span>\u003ca href=\"https://www.shipyardartists.com/\">\u003cspan style=\"font-weight: 400\"> Hunter’s Point Shipyard Arts Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, I’d add that there are so many other artists out there just like Ira– self taught, doing their work to preserve history, and making art every single day, so I ask that you stop by a local museum or attend an art show. Not only do the artists benefit from this, you will as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw and Marisol Medina Cadena. It was produced by Sheree Bishop. Chris Hambrick is our editor. Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Black History Month, ya’ll. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952329/six-decades-of-painting-black-history","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1"],"tags":["arts_4097","arts_13952","arts_21945","arts_21942","arts_2636","arts_1146","arts_21943"],"featImg":"arts_13952334","label":"arts_8720"},"arts_13932138":{"type":"posts","id":"arts_13932138","meta":{"index":"posts_1591205157","site":"arts","id":"13932138","score":null,"sort":[1690493066000]},"guestAuthors":[],"slug":"esteban-raheem-abdul-raheem-samayoa-pt-2","title":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","publishDate":1690493066,"format":"standard","headTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Ain’t No Dogs in Heaven’ draws from the artist’s Sacramento childhood while embracing his Latino heritage and Islamic faith.","status":"publish","parent":0,"modified":1705005224,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1087},"headData":{"title":"Esteban Samayoa Makes His Solo Debut at Oakland’s pt.2 Gallery | KQED","description":"‘Ain’t No Dogs in Heaven’ draws from the artist’s Sacramento childhood while embracing his Latino heritage and Islamic faith.","ogTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","ogDescription":"","ogImgId":"","twTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","twDescription":"","twImgId":"","socialTitle":"Esteban Samayoa Makes His Solo Debut at Oakland’s pt.2 Gallery %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","datePublished":"2023-07-27T21:24:26.000Z","dateModified":"2024-01-11T20:33:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nia Coats","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2","authors":["byline_arts_13932138"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_2636","arts_1009","arts_1401","arts_16266","arts_585"],"featImg":"arts_13932177","label":"arts_140"},"arts_13930840":{"type":"posts","id":"arts_13930840","meta":{"index":"posts_1591205157","site":"arts","id":"13930840","score":null,"sort":[1687543809000]},"guestAuthors":[],"slug":"remedios-varo-gallery-wendi-norris-encuentros-review","title":"At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work","publishDate":1687543809,"format":"standard","headTitle":"At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are benefits to opening a gallery within the vicinity of other galleries. The galleries at 49 Geary, their tenancy waxing and waning over the years, continues to provide multiple shows for the price of one elevator ride. But there is also novelty in a standalone space, tucked into an unexpected neighborhood alongside delights like the still-stunning Transamerica Pyramid.\u003c/p>\n\u003cp>Gallery Wendi Norris, once located near the downtown museums, then in a series of \u003ca href=\"https://www.kqed.org/arts/13852335/gallery-wendi-norris-yamini-nayar-if-stone-could-give\">roving project spaces\u003c/a>, has again rooted itself to a white-walled storefront — this time in the company of high-end boutiques and \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a>. But with the current show, the Jackson Street setting is just the appetizer. In \u003ci>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/remedios-varo\">Encuentro\u003c/a>\u003c/i>, a tight collection of paintings by the Spanish-born artist \u003ca href=\"https://www.nytimes.com/2021/09/24/obituaries/remedios-varo-overlooked.html\">Remedios Varo\u003c/a>, we get a once-in-a-lifetime meal.\u003c/p>\n\u003cp>Inside the gallery, Varo’s amber-toned oil paintings line the walls like pages from a forgotten storybook. Elemental beings — a watery figure encountering a possible doppelgänger, a bruja with a flame-red mane — are sentries and guides. In many pieces, delicate figures look out from the canvas mournfully, their wide eyes narrowing to pointed chins, papers and leaves swirling around them. A cloaked figure in \u003ci>Ruptura\u003c/i> (1955) glances up and to the right, their back turned to windows of identical observers. It’s a moment of departure, a shirking of responsibility, a defiant rebuttal to expected conformity.\u003c/p>\n\u003cfigure id=\"attachment_13930848\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920.jpg\" alt=\"Two images: one at left of figure in watery blue cloak opening box to reveal matching eyes; one at right depicting a figure made up of frothy white waves with long red hair\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-1536x1138.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L: Remedios Varo, ‘Encuentro,’ 1959, Oil on canvas; R: ‘Bruja que va al Sabath,’ 1957, Mixed media on paper. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she painted this piece, Varo had settled in Mexico after fleeing World War II; she would live there until her death in 1963. All the work in \u003ci>Encuentro\u003c/i> comes from this period of her life — a fruitful, increasingly successful one marked by friendships with fellow exiled artists like \u003ca href=\"https://www.moma.org/artists/6916\">Kati Horna\u003c/a> and \u003ca href=\"https://www.gallerywendinorris.com/artists-collection/leonora-carrington\">Leonora Carrington\u003c/a>. Varo and Carrington, in particular, saw each other nearly every day, sharing their ideas and research (including the study of alchemy).\u003c/p>\n\u003cp>While many of the scenes Varo carefully painted — in thin, crosshatching lines of oil — have a mystical, otherworldly element, they are grounded by her inspired renderings of textures. \u003ci>Ruptura\u003c/i> is bounded in by high brushy hedges. In \u003ci>Banqueros en acción\u003c/i> (1962), black-suited bankers fly through a cityscape made of speckled — almost moldy — walls. The contrast between these more abstract moments and her precise renderings of humanoid creatures heightens the tension of each scene: which world do they inhabit? Can we psychically access this place?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of Varo’s paintings — even the most innocuous, like the dreamy study \u003ci>Estudio para trasmundo\u003c/i> (c. 1955) — seem to depict a reality just past the border of our own. Animals bear tiny human faces, trees become vaulted cathedral ceilings and toy boats journey to the underworld. This realm, however moody, rarely appears dangerous. Instead, we are invited to take our time, be curious and filled with wonder. The entire show is delightfully witchy.\u003c/p>\n\u003cfigure id=\"attachment_13930849\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-scaled.jpg\" alt=\"Painting of apples swirling above a table covered with a twisted tablecloth, vaulted ceiling above\" width=\"1827\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1462x2048.jpg 1462w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Remedios Varo, ‘Naturaleza muerta resucitando,’ 1963; Oil on canvas. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in our present-day reality, outside of Varo’s entrancing brushstrokes, I write with some urgency. Usually, the 384 pieces of artwork she created during her lifetime are scattered around the world, in a mix of museum and private collections. \u003ci>Encuentro\u003c/i>, a rare gathering, opened in May with 11 works spanning 1947–1963, but the complicated (and exciting) process of museum acquisition has whittled the exhibition down to just nine. One or two additional pieces may leave for similar reasons before the show’s July 15 closing.\u003c/p>\n\u003cp>The last painting Varo finished before her untimely death at age 54 is the show’s largest: \u003ci>Naturaleza muerta resucitando\u003c/i> (1963), a swirling scene of fruit as cosmos, levitating in their own Milky Way above the twisted cloth of a set table. Without the sorcerer visible, we are left to assume it is Varo herself spinning these items aloft, the paint brush her wand. And so let it be a summoning, while there are still so many worlds to get lost within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/remedios-varo\">Remedios Varo: Encuentros\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St.) through July 15.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A rare gathering of paintings by the Spanish-born artist casts a spell through surreal scenes and detailed brushwork.","status":"publish","parent":0,"modified":1705005347,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":725},"headData":{"title":"Remedios Varo at Gallery Wendi Norris: A Magical Encounter | KQED","description":"A rare gathering of paintings by the Spanish-born artist casts a spell through surreal scenes and detailed brushwork.","ogTitle":"At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work","ogDescription":"","ogImgId":"","twTitle":"At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work","twDescription":"","twImgId":"","socialTitle":"Remedios Varo at Gallery Wendi Norris: A Magical Encounter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Gallery Wendi Norris, a Magical Encounter With Remedios Varo’s Work","datePublished":"2023-06-23T18:10:09.000Z","dateModified":"2024-01-11T20:35:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930840/remedios-varo-gallery-wendi-norris-encuentros-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are benefits to opening a gallery within the vicinity of other galleries. The galleries at 49 Geary, their tenancy waxing and waning over the years, continues to provide multiple shows for the price of one elevator ride. But there is also novelty in a standalone space, tucked into an unexpected neighborhood alongside delights like the still-stunning Transamerica Pyramid.\u003c/p>\n\u003cp>Gallery Wendi Norris, once located near the downtown museums, then in a series of \u003ca href=\"https://www.kqed.org/arts/13852335/gallery-wendi-norris-yamini-nayar-if-stone-could-give\">roving project spaces\u003c/a>, has again rooted itself to a white-walled storefront — this time in the company of high-end boutiques and \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a>. But with the current show, the Jackson Street setting is just the appetizer. In \u003ci>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/remedios-varo\">Encuentro\u003c/a>\u003c/i>, a tight collection of paintings by the Spanish-born artist \u003ca href=\"https://www.nytimes.com/2021/09/24/obituaries/remedios-varo-overlooked.html\">Remedios Varo\u003c/a>, we get a once-in-a-lifetime meal.\u003c/p>\n\u003cp>Inside the gallery, Varo’s amber-toned oil paintings line the walls like pages from a forgotten storybook. Elemental beings — a watery figure encountering a possible doppelgänger, a bruja with a flame-red mane — are sentries and guides. In many pieces, delicate figures look out from the canvas mournfully, their wide eyes narrowing to pointed chins, papers and leaves swirling around them. A cloaked figure in \u003ci>Ruptura\u003c/i> (1955) glances up and to the right, their back turned to windows of identical observers. It’s a moment of departure, a shirking of responsibility, a defiant rebuttal to expected conformity.\u003c/p>\n\u003cfigure id=\"attachment_13930848\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920.jpg\" alt=\"Two images: one at left of figure in watery blue cloak opening box to reveal matching eyes; one at right depicting a figure made up of frothy white waves with long red hair\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0076-Encuentro_Bruja_1920-1536x1138.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L: Remedios Varo, ‘Encuentro,’ 1959, Oil on canvas; R: ‘Bruja que va al Sabath,’ 1957, Mixed media on paper. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she painted this piece, Varo had settled in Mexico after fleeing World War II; she would live there until her death in 1963. All the work in \u003ci>Encuentro\u003c/i> comes from this period of her life — a fruitful, increasingly successful one marked by friendships with fellow exiled artists like \u003ca href=\"https://www.moma.org/artists/6916\">Kati Horna\u003c/a> and \u003ca href=\"https://www.gallerywendinorris.com/artists-collection/leonora-carrington\">Leonora Carrington\u003c/a>. Varo and Carrington, in particular, saw each other nearly every day, sharing their ideas and research (including the study of alchemy).\u003c/p>\n\u003cp>While many of the scenes Varo carefully painted — in thin, crosshatching lines of oil — have a mystical, otherworldly element, they are grounded by her inspired renderings of textures. \u003ci>Ruptura\u003c/i> is bounded in by high brushy hedges. In \u003ci>Banqueros en acción\u003c/i> (1962), black-suited bankers fly through a cityscape made of speckled — almost moldy — walls. The contrast between these more abstract moments and her precise renderings of humanoid creatures heightens the tension of each scene: which world do they inhabit? Can we psychically access this place?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of Varo’s paintings — even the most innocuous, like the dreamy study \u003ci>Estudio para trasmundo\u003c/i> (c. 1955) — seem to depict a reality just past the border of our own. Animals bear tiny human faces, trees become vaulted cathedral ceilings and toy boats journey to the underworld. This realm, however moody, rarely appears dangerous. Instead, we are invited to take our time, be curious and filled with wonder. The entire show is delightfully witchy.\u003c/p>\n\u003cfigure id=\"attachment_13930849\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-scaled.jpg\" alt=\"Painting of apples swirling above a table covered with a twisted tablecloth, vaulted ceiling above\" width=\"1827\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RV0080-Naturaleza-muerta-resucitando_1920-1462x2048.jpg 1462w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Remedios Varo, ‘Naturaleza muerta resucitando,’ 1963; Oil on canvas. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in our present-day reality, outside of Varo’s entrancing brushstrokes, I write with some urgency. Usually, the 384 pieces of artwork she created during her lifetime are scattered around the world, in a mix of museum and private collections. \u003ci>Encuentro\u003c/i>, a rare gathering, opened in May with 11 works spanning 1947–1963, but the complicated (and exciting) process of museum acquisition has whittled the exhibition down to just nine. One or two additional pieces may leave for similar reasons before the show’s July 15 closing.\u003c/p>\n\u003cp>The last painting Varo finished before her untimely death at age 54 is the show’s largest: \u003ci>Naturaleza muerta resucitando\u003c/i> (1963), a swirling scene of fruit as cosmos, levitating in their own Milky Way above the twisted cloth of a set table. Without the sorcerer visible, we are left to assume it is Varo herself spinning these items aloft, the paint brush her wand. And so let it be a summoning, while there are still so many worlds to get lost within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/remedios-varo\">Remedios Varo: Encuentros\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St.) through July 15.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930840/remedios-varo-gallery-wendi-norris-encuentros-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3649","arts_2636","arts_769","arts_585"],"featImg":"arts_13930847","label":"arts_140"},"arts_13927836":{"type":"posts","id":"arts_13927836","meta":{"index":"posts_1591205157","site":"arts","id":"13927836","score":null,"sort":[1682615633000]},"guestAuthors":[],"slug":"nyame-brown-bay-sick-ciis-afrofuturism","title":"Nyame Brown’s Black World-Building Depicts a Necessary Future","publishDate":1682615633,"format":"standard","headTitle":"Nyame Brown’s Black World-Building Depicts a Necessary Future | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If \u003cem>Black Panther\u003c/em> is your favorite hero of the Marvel Cinematic Universe and the movies left you wanting so much more, there’s a San Francisco exhibition that will interest you. On view through June 9 at the California Institute of Integral Studies (CIIS), \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">\u003ci>Bay-Sick: New Mythologies from Black Speculative Worldbuilding\u003c/i>\u003c/a> invites us to witness Oakland artist \u003ca href=\"https://www.nyamebrown.com/\">Nyame Brown\u003c/a>’s dimension-expanding practice. Working with diverse media, including cut paper and oil paint applied to blackboards, Brown riffs off of African American folklore tradition to build worlds in which fantasy and reality coexist.\u003c/p>\n\u003cp>Brown identifies his work as part of Afrofuturism, a cultural aesthetic that combines literature (particularly science fiction and speculative fiction), history and fantasy to explore African American experience, and connects African diasporan communities to ancestral traditions that were violently interrupted by the Atlantic slave trade. N.K. Jemisin and the late Octavia Butler are luminary Afrofuturst novelists; Sun Ra and George Clinton came at the movement musically. \u003c/p>\n\u003cp>In contemporary art, Wangechi Mutu is a standard-bearer. Her installation \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/wangechi-mutu\">I’m Speaking, Are You Listening?\u003c/a>\u003c/i> transformed the Legion of Honor in 2021, and made the journey to San Francisco’s windy edge worthwhile. Within this lineage, Brown proposes different ways to think of Black history as a shared experience, and puts forth possible futures equally shaped by both similarities and dynamic differences.\u003c/p>\n\u003cfigure id=\"attachment_13927840\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg\" alt=\"Brightly costumed figures leap onto platforms in fantastical landscape of cubes shapes\" width=\"1080\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-800x539.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-1020x687.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-768x517.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘Galo Canto,’ 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>At CIIS, curator Kija Lucas has selected pieces that reflect Brown’s varied practice. In addition to watercolor works on paper, the show includes oil paintings on chalkboards. It’s a nod to Brown’s tenure as an Oakland School for the Arts educator. His use of oil paint, as opposed to chalk, suggests a hope for a time in which Black lives and Black history are not so easily erased.\u003c/p>\n\u003cp>An example of this style, \u003ci>Galo Canto\u003c/i> (2022), registers the influence of contemporary fashion and video game design. At the center of the blackboard, one of three vividly costumed figures moves as though gravity and average human mobility are of no concern. Gamers may appreciate what look like interlocking platforms, a familiar visual trope in virtual world-building, that in Brown’s work suggest a precariousness the figures gracefully navigate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The folk hero \u003ca href=\"https://www.nps.gov/neri/planyourvisit/the-legend-of-john-henry-talcott-wv.htm\">John Henry\u003c/a> makes repeated appearances in Brown’s work. Henry, who is celebrated for defeating a steam drill in a 19th-century coal-digging competition, often symbolizes heroic stamina; he vanquishes mindless mechanized strength as his last mortal act.\u003c/p>\n\u003cp>But \u003ci>Drippin in the Bay: John Henry with His Head in the Clouds\u003c/i> (2022), doesn’t emphasize back-breaking labor. Another oil-on-blackboard composition, the painting features a purple-skinned giant seated on the Bay Bridge. He appears contemplative, perhaps pondering the economic and cultural forces that have shrunk the Bay Area’s Black population. He also appears restful, defying capitalism’s mandate that we hustle from one task to the next. In Brown’s treatment, this version of the John Henry myth may teach us that rest — and by extension, self-care — is a potent relief from living in survival mode.\u003c/p>\n\u003cfigure id=\"attachment_13927843\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg\" alt=\"Wide drawing on white paper with various perspectives and swirling action\" width=\"2560\" height=\"1816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1920x1362.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘New Black Myth Scroll,’ 2021. \u003ccite>(Courtesy of CIIS / Kija Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://gizmodo.com/margaret-atwood-and-ursula-k-le-guin-debate-science-fi-5650396\">2010 conversation\u003c/a> with fellow author Margaret Atwood, Ursula K. Le Guin urged that the difference between science fiction and fantasy is one of possibility: fantasy cannot happen, but science fiction can. Brown reckons with this in \u003ci>New Black Myth Scroll\u003c/i> (2021). By its size, the 15-foot canvas paper scroll reminds me of medieval tapestries that narratively recount key battles. Brown’s composition is not so polished. It looks more like a sketchpad, a place for potential to take root. If the chairs and tables in CIIS’s Desai | Matta Gallery, which is a shared public space, are not in use when you visit, move them. Seeing this monumental piece both at a distance and up close is a must.\u003c/p>\n\u003cp>Of the exhibition’s seven pieces, this scroll best reflects how Le Guin frames science fiction. At the far left edge, a figure admiringly holds aloft a vanquished foe’s head. Further into the composition, razor-sharp teeth appear ready to bite. It’s a dizzying viewing experience. Brown’s accomplished and troubling vision, perhaps a reference to the bodily violence that many Black Americans face daily, reminds us of what \u003ci>can\u003c/i> happen, and that the strides we make as a society will profoundly shape a shared future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bay-Sick: New Mythologies from Black Speculative Worldbuilding’ is on view in the Desai | Matta Gallery at the California Institute of Integral Studies (1453 Mission St., San Francisco) through June 9. \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘Bay-Sick’ at the California Institute of Integral Studies, the accomplished Oakland artist leans into imaginative potential.","status":"publish","parent":0,"modified":1705005571,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":801},"headData":{"title":"Nyame Brown ‘Bay-Sick’ Review: A Necessary Vision of the Future | KQED","description":"In ‘Bay-Sick’ at the California Institute of Integral Studies, the accomplished Oakland artist leans into imaginative potential.","ogTitle":"Nyame Brown’s Black World-Building Depicts a Necessary Future","ogDescription":"","ogImgId":"","twTitle":"Nyame Brown’s Black World-Building Depicts a Necessary Future","twDescription":"","twImgId":"","socialTitle":"Nyame Brown ‘Bay-Sick’ Review: A Necessary Vision of the Future %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nyame Brown’s Black World-Building Depicts a Necessary Future","datePublished":"2023-04-27T17:13:53.000Z","dateModified":"2024-01-11T20:39:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"nyame-browns-black-world-building-depicts-a-necessary-future","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927836/nyame-brown-bay-sick-ciis-afrofuturism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cem>Black Panther\u003c/em> is your favorite hero of the Marvel Cinematic Universe and the movies left you wanting so much more, there’s a San Francisco exhibition that will interest you. On view through June 9 at the California Institute of Integral Studies (CIIS), \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">\u003ci>Bay-Sick: New Mythologies from Black Speculative Worldbuilding\u003c/i>\u003c/a> invites us to witness Oakland artist \u003ca href=\"https://www.nyamebrown.com/\">Nyame Brown\u003c/a>’s dimension-expanding practice. Working with diverse media, including cut paper and oil paint applied to blackboards, Brown riffs off of African American folklore tradition to build worlds in which fantasy and reality coexist.\u003c/p>\n\u003cp>Brown identifies his work as part of Afrofuturism, a cultural aesthetic that combines literature (particularly science fiction and speculative fiction), history and fantasy to explore African American experience, and connects African diasporan communities to ancestral traditions that were violently interrupted by the Atlantic slave trade. N.K. Jemisin and the late Octavia Butler are luminary Afrofuturst novelists; Sun Ra and George Clinton came at the movement musically. \u003c/p>\n\u003cp>In contemporary art, Wangechi Mutu is a standard-bearer. Her installation \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/wangechi-mutu\">I’m Speaking, Are You Listening?\u003c/a>\u003c/i> transformed the Legion of Honor in 2021, and made the journey to San Francisco’s windy edge worthwhile. Within this lineage, Brown proposes different ways to think of Black history as a shared experience, and puts forth possible futures equally shaped by both similarities and dynamic differences.\u003c/p>\n\u003cfigure id=\"attachment_13927840\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg\" alt=\"Brightly costumed figures leap onto platforms in fantastical landscape of cubes shapes\" width=\"1080\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-800x539.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-1020x687.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-768x517.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘Galo Canto,’ 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>At CIIS, curator Kija Lucas has selected pieces that reflect Brown’s varied practice. In addition to watercolor works on paper, the show includes oil paintings on chalkboards. It’s a nod to Brown’s tenure as an Oakland School for the Arts educator. His use of oil paint, as opposed to chalk, suggests a hope for a time in which Black lives and Black history are not so easily erased.\u003c/p>\n\u003cp>An example of this style, \u003ci>Galo Canto\u003c/i> (2022), registers the influence of contemporary fashion and video game design. At the center of the blackboard, one of three vividly costumed figures moves as though gravity and average human mobility are of no concern. Gamers may appreciate what look like interlocking platforms, a familiar visual trope in virtual world-building, that in Brown’s work suggest a precariousness the figures gracefully navigate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The folk hero \u003ca href=\"https://www.nps.gov/neri/planyourvisit/the-legend-of-john-henry-talcott-wv.htm\">John Henry\u003c/a> makes repeated appearances in Brown’s work. Henry, who is celebrated for defeating a steam drill in a 19th-century coal-digging competition, often symbolizes heroic stamina; he vanquishes mindless mechanized strength as his last mortal act.\u003c/p>\n\u003cp>But \u003ci>Drippin in the Bay: John Henry with His Head in the Clouds\u003c/i> (2022), doesn’t emphasize back-breaking labor. Another oil-on-blackboard composition, the painting features a purple-skinned giant seated on the Bay Bridge. He appears contemplative, perhaps pondering the economic and cultural forces that have shrunk the Bay Area’s Black population. He also appears restful, defying capitalism’s mandate that we hustle from one task to the next. In Brown’s treatment, this version of the John Henry myth may teach us that rest — and by extension, self-care — is a potent relief from living in survival mode.\u003c/p>\n\u003cfigure id=\"attachment_13927843\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg\" alt=\"Wide drawing on white paper with various perspectives and swirling action\" width=\"2560\" height=\"1816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1920x1362.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘New Black Myth Scroll,’ 2021. \u003ccite>(Courtesy of CIIS / Kija Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://gizmodo.com/margaret-atwood-and-ursula-k-le-guin-debate-science-fi-5650396\">2010 conversation\u003c/a> with fellow author Margaret Atwood, Ursula K. Le Guin urged that the difference between science fiction and fantasy is one of possibility: fantasy cannot happen, but science fiction can. Brown reckons with this in \u003ci>New Black Myth Scroll\u003c/i> (2021). By its size, the 15-foot canvas paper scroll reminds me of medieval tapestries that narratively recount key battles. Brown’s composition is not so polished. It looks more like a sketchpad, a place for potential to take root. If the chairs and tables in CIIS’s Desai | Matta Gallery, which is a shared public space, are not in use when you visit, move them. Seeing this monumental piece both at a distance and up close is a must.\u003c/p>\n\u003cp>Of the exhibition’s seven pieces, this scroll best reflects how Le Guin frames science fiction. At the far left edge, a figure admiringly holds aloft a vanquished foe’s head. Further into the composition, razor-sharp teeth appear ready to bite. It’s a dizzying viewing experience. Brown’s accomplished and troubling vision, perhaps a reference to the bodily violence that many Black Americans face daily, reminds us of what \u003ci>can\u003c/i> happen, and that the strides we make as a society will profoundly shape a shared future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bay-Sick: New Mythologies from Black Speculative Worldbuilding’ is on view in the Desai | Matta Gallery at the California Institute of Integral Studies (1453 Mission St., San Francisco) through June 9. \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927836/nyame-brown-bay-sick-ciis-afrofuturism","authors":["77"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_4003","arts_10278","arts_2636","arts_769","arts_585"],"featImg":"arts_13928069","label":"arts_140"},"arts_13926609":{"type":"posts","id":"arts_13926609","meta":{"index":"posts_1591205157","site":"arts","id":"13926609","score":null,"sort":[1679497250000]},"guestAuthors":[],"slug":"sargent-and-spain-legion-of-honor-review","title":"‘Sargent and Spain’ Is Full of Hits, But Still Holds Surprises","publishDate":1679497250,"format":"standard","headTitle":"‘Sargent and Spain’ Is Full of Hits, But Still Holds Surprises | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Look, the Legion of Honor doesn’t need any help from me to publicize \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/sargent-and-spain\">Sargent and Spain\u003c/a>\u003c/i>, its exhibition of paintings, watercolors and sketchbooks made by the American expat John Singer Sargent during and after his many visits to Spain. But there were so many surprises and discoveries within the show that I feel compelled to voice my enthusiasm.\u003c/p>\n\u003cp>Sargent, best known for his regal and luminous oil portraits of 19th- and early 20th-century high society, first journeyed to Spain as an adult in 1879 to learn from his artistic forebears, studying and copying works by El Greco, Diego Velázquez and Francisco Goya.\u003c/p>\n\u003cp>In total, he would make seven trips there over the course of three decades, traveling further into the Spanish countryside and coastal communities, beyond the urban centers frequented by fellow tourists. As he traveled, he took and purchased photographs, sketching architecture and gardens that would continue to influence his work long after he left.\u003c/p>\n\u003cp>Sargent’s renderings of empty courtyards and dense vegetation show the precision of someone dedicated to conveying a sense of light and space. His paintings of Mallorca, in particular, depict the blinding light of a Mediterranean island and the cool blue shadows cast by the rigging of boats. It’s clear the intricate beauty of places like the Alhambra fascinated him, but he was also acutely aware of — and interested in — daily contemporary life.\u003c/p>\n\u003cfigure id=\"attachment_13926612\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/09.846_PS6.jpg\" alt=\"Watercolor with blue and green hues of ships, sails and rigging\" width=\"1536\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-768x552.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘White Ships,’ 1908; Watercolor over graphite, with gouache and wax resist, on paper, 13 7/8 × 19 3/8 in. \u003ccite>(Photo by Brooklyn Museum; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A perfect example of this duality comes from the enigmatic painting \u003ci>Turkey in a Courtyard\u003c/i> (c. 1879–80), in which a carved wooden balcony and an arched doorway fade into a brushily rendered turkey wedged (in a strange compositional move) into the lower right corner of the canvas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, Sargent captured more than animals, landscapes and buidings. He painted the Spanish and Roma people with a respect not often bestowed to those communities at the time. His \u003ca href=\"https://www.famsf.org/stories/sargent-flamenco-playlist\">interest in flamenco\u003c/a> — a traditional Roma dance — manifests in some of the show’s most dramatic and thrilling paintings. The exhibition’s centerpiece is \u003ci>La Carmencita\u003c/i> (1890), a 7.5-foot-tall portrait of the dancer Carmen Dauset Moreno standing proudly, arms akimbo, in an ornate yellow dress.\u003c/p>\n\u003cp>It’s a magnificent piece of art, as are all of Sargent’s sketches and paintings inspired by Spanish dance (including numerous sketches for \u003ci>El Jaleo\u003c/i>, not on view here). But I would like to propose an alternate, shall we say, “sleeper” hit.\u003c/p>\n\u003cfigure id=\"attachment_13926614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MosquitoNets_1920.jpg\" alt=\"Painting of two white women under black netting reading books on red couch\" width=\"1920\" height=\"1522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-1536x1218.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘Mosquito Nets,’ 1908; Oil on canvas, 22 1/2 × 28 1/4 in. \u003ccite>(Image from The Detroit Institute of Arts; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>May I present \u003ci>Mosquito Nets\u003c/i> (1908). It’s a painting of Sargent’s sister Emily (\u003ca href=\"https://news.artnet.com/art-world/emily-sargent-2215370\">an artist in her own right\u003c/a>) and her friend Eliza Wedgwood reclining under homemade mosquito-net headdresses. They are reading contentedly. Where \u003ci>La Carmencita\u003c/i> is resolutely upright, these ladies are nearly horizontal, wrapped in black clothing and shrouded by their nets. As \u003ci>Sargent and Spain\u003c/i> proves throughout its galleries, travel can yield astonishing views, glimpses of history and appreciations of different cultures. It can also, simply, look like a delicious bit of relaxation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sargent and Spain’ is on view at San Francisco’s Legion of Honor through May 14, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/sargent-and-spain\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Come for John Singer Sargent’s luminous oil portraits and leave with a greater appreciation of Spain, its people and travel itself.","status":"publish","parent":0,"modified":1705005717,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":605},"headData":{"title":"‘Sargent and Spain’ Is Full of Hits, But Still Holds Surprises | KQED","description":"Come for John Singer Sargent’s luminous oil portraits and leave with a greater appreciation of Spain, its people and travel itself.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Sargent and Spain’ Is Full of Hits, But Still Holds Surprises","datePublished":"2023-03-22T15:00:50.000Z","dateModified":"2024-01-11T20:41:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926609/sargent-and-spain-legion-of-honor-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look, the Legion of Honor doesn’t need any help from me to publicize \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/sargent-and-spain\">Sargent and Spain\u003c/a>\u003c/i>, its exhibition of paintings, watercolors and sketchbooks made by the American expat John Singer Sargent during and after his many visits to Spain. But there were so many surprises and discoveries within the show that I feel compelled to voice my enthusiasm.\u003c/p>\n\u003cp>Sargent, best known for his regal and luminous oil portraits of 19th- and early 20th-century high society, first journeyed to Spain as an adult in 1879 to learn from his artistic forebears, studying and copying works by El Greco, Diego Velázquez and Francisco Goya.\u003c/p>\n\u003cp>In total, he would make seven trips there over the course of three decades, traveling further into the Spanish countryside and coastal communities, beyond the urban centers frequented by fellow tourists. As he traveled, he took and purchased photographs, sketching architecture and gardens that would continue to influence his work long after he left.\u003c/p>\n\u003cp>Sargent’s renderings of empty courtyards and dense vegetation show the precision of someone dedicated to conveying a sense of light and space. His paintings of Mallorca, in particular, depict the blinding light of a Mediterranean island and the cool blue shadows cast by the rigging of boats. It’s clear the intricate beauty of places like the Alhambra fascinated him, but he was also acutely aware of — and interested in — daily contemporary life.\u003c/p>\n\u003cfigure id=\"attachment_13926612\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/09.846_PS6.jpg\" alt=\"Watercolor with blue and green hues of ships, sails and rigging\" width=\"1536\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/09.846_PS6-768x552.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘White Ships,’ 1908; Watercolor over graphite, with gouache and wax resist, on paper, 13 7/8 × 19 3/8 in. \u003ccite>(Photo by Brooklyn Museum; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A perfect example of this duality comes from the enigmatic painting \u003ci>Turkey in a Courtyard\u003c/i> (c. 1879–80), in which a carved wooden balcony and an arched doorway fade into a brushily rendered turkey wedged (in a strange compositional move) into the lower right corner of the canvas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, Sargent captured more than animals, landscapes and buidings. He painted the Spanish and Roma people with a respect not often bestowed to those communities at the time. His \u003ca href=\"https://www.famsf.org/stories/sargent-flamenco-playlist\">interest in flamenco\u003c/a> — a traditional Roma dance — manifests in some of the show’s most dramatic and thrilling paintings. The exhibition’s centerpiece is \u003ci>La Carmencita\u003c/i> (1890), a 7.5-foot-tall portrait of the dancer Carmen Dauset Moreno standing proudly, arms akimbo, in an ornate yellow dress.\u003c/p>\n\u003cp>It’s a magnificent piece of art, as are all of Sargent’s sketches and paintings inspired by Spanish dance (including numerous sketches for \u003ci>El Jaleo\u003c/i>, not on view here). But I would like to propose an alternate, shall we say, “sleeper” hit.\u003c/p>\n\u003cfigure id=\"attachment_13926614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MosquitoNets_1920.jpg\" alt=\"Painting of two white women under black netting reading books on red couch\" width=\"1920\" height=\"1522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MosquitoNets_1920-1536x1218.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘Mosquito Nets,’ 1908; Oil on canvas, 22 1/2 × 28 1/4 in. \u003ccite>(Image from The Detroit Institute of Arts; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>May I present \u003ci>Mosquito Nets\u003c/i> (1908). It’s a painting of Sargent’s sister Emily (\u003ca href=\"https://news.artnet.com/art-world/emily-sargent-2215370\">an artist in her own right\u003c/a>) and her friend Eliza Wedgwood reclining under homemade mosquito-net headdresses. They are reading contentedly. Where \u003ci>La Carmencita\u003c/i> is resolutely upright, these ladies are nearly horizontal, wrapped in black clothing and shrouded by their nets. As \u003ci>Sargent and Spain\u003c/i> proves throughout its galleries, travel can yield astonishing views, glimpses of history and appreciations of different cultures. It can also, simply, look like a delicious bit of relaxation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sargent and Spain’ is on view at San Francisco’s Legion of Honor through May 14, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/sargent-and-spain\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926609/sargent-and-spain-legion-of-honor-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1956","arts_2636","arts_585"],"featImg":"arts_13926613","label":"arts_140"},"arts_13925374":{"type":"posts","id":"arts_13925374","meta":{"index":"posts_1591205157","site":"arts","id":"13925374","score":null,"sort":[1677092079000]},"guestAuthors":[],"slug":"frank-moore-paintings-bampfa-theater-of-human-melting-review","title":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","publishDate":1677092079,"format":"standard","headTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>[aside postID='arts_13835688']Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A solo exhibition at BAMPFA hints at the larger, thrilling world of multi-hyphenate artist Frank Moore.","status":"publish","parent":0,"modified":1705005817,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":848},"headData":{"title":"Franke Moore at BAMPFA: Paintings Capture an Artist’s Urgency | KQED","description":"A solo exhibition at BAMPFA hints at the larger, thrilling world of multi-hyphenate artist Frank Moore.","ogTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","ogDescription":"","ogImgId":"","twTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","twDescription":"","twImgId":"","socialTitle":"Franke Moore at BAMPFA: Paintings Capture an Artist’s Urgency %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","datePublished":"2023-02-22T18:54:39.000Z","dateModified":"2024-01-11T20:43:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925374/frank-moore-paintings-bampfa-theater-of-human-melting-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13835688","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925374/frank-moore-paintings-bampfa-theater-of-human-melting-review","authors":["11272"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10278","arts_2636","arts_585"],"featImg":"arts_13925375","label":"arts_140"},"arts_13921767":{"type":"posts","id":"arts_13921767","meta":{"index":"posts_1591205157","site":"arts","id":"13921767","score":null,"sort":[1668733159000]},"guestAuthors":[],"slug":"joan-brown-retrospective-sfmoma-review","title":"Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces","publishDate":1668733159,"format":"standard","headTitle":"Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s evident from the very start that the San Francisco Museum of Modern Art’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\">Joan Brown\u003c/a>\u003c/i> retrospective is going to be a bit different. It could have something to do with the painted walls that greet you off the seventh-floor elevator (peach and bright orange). It could be the deliciously unhinged wall text next to \u003ci>Joan + Donald\u003c/i>, a 1982 painting of Brown holding a squirming tabby cat. (Hint: it involves declaring the cat a tax write-off and an IRS audit, no spoilers here.) But really it’s just the fact that this is a Joan Brown show, and Joan Brown was a singular artist.\u003c/p>\n\u003cp>Curated by SFMOMA’s Janet Bishop and Nancy Lim, this retrospective is the late San Francisco artist’s first in over 20 years. Following Brown’s career from her art school days at the California School of Fine Arts (now the San Francisco Art Institute) to her untimely death at the age of 52, the show moves fluidly through Brown’s evolving style and subject matter. The extended pieces of wall text are full of delightful autobiographical details and images of Brown’s own paint-covered visual references.\u003c/p>\n\u003cp>It’s hard to believe, looking at her assured, large-scale figurative paintings, that Brown almost didn’t become an artist. She applied to CSFA — with a portfolio of drawings of movie stars — on the eve of her enrollment at an all-girls Catholic college. And she did not transition to art school easily. On the verge of dropping out after one year (her prim mother, aghast at the nude models, would have rejoiced), she took a summer painting course with Elmer Bischoff, who became a lifelong mentor and friend.\u003c/p>\n\u003cfigure id=\"attachment_13921782\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200.jpg\" alt=\"Brushy painting of cooked turkey against green background\" width=\"1200\" height=\"1195\" class=\"size-full wp-image-13921782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-768x765.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Thanksgiving Turkey,’ 1959; The Museum of Modern Art, New York. \u003ccite>(© Estate of Joan Brown; Photo © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bischoff encouraged Brown to paint the stuff of everyday life, teaching her to trust her own instincts above art world fads and critical responses (a lesson that would serve her well in the next three decades). In that class, Brown learned to love paint. Her pieces from those early years are thickly impastoed; some look like they could \u003ci>still\u003c/i> be wet. Comically large brushes were involved — sometimes even trowels — as Brown layered large swaths of house paint in swirling images of women swimming; her son under a heavily decorated Christmas tree; dogs; her domestic space; and a Thanksgiving turkey.\u003c/p>\n\u003cp>Brown found remarkable and rapid success early in her career. Painted in 1959, that aforementioned turkey was purchased by the Museum of Modern Art in New York when Brown was only 22 years old. By 1964, her work had appeared on the cover of \u003ci>Artforum\u003c/i> (the accompanying article dubbed her “Everybody’s Darling”), in group exhibitions at the Whitney, the San Francisco Museum of Art (now SFMOMA), and in two successful solo exhibitions with New York’s Staempfli Gallery. But she was disenchanted with her heavy brushwork, and, trusting her instincts, she decided to pursue a new direction in her work, refusing gallery shows for the next three years.\u003c/p>\n\u003cfigure id=\"attachment_13921783\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200.jpg\" alt=\"Painting of gray cat in center of fantastical brightly colored landscape\" width=\"1200\" height=\"984\" class=\"size-full wp-image-13921783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-1020x836.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-768x630.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Grey Cat with Madrone and Birch Trees,’ 1968; Museum of Fine Arts, Boston. \u003ccite>(© Estate of Joan Brown; Photo © 2022 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the SFMOMA retrospective, this shift comes suddenly, via \u003ci>Gray Cat with Madrone and Birch Trees\u003c/i> (1968), a large-scale canvas that references Henri Rousseau’s tropical landscapes. In comparison to her earlier work, this painting’s surface is nearly flat, its subjects rendered distinctly; a large gray cat stares out from a spare landscape of olive and ochre, topped by a nuclear orange sky. This is a deeply weird painting, a portal to another way of rendering Brown’s view of the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While her subject matter would shift over the next two decades (except for animals, a steady constant) — to frank self-portraits, dancers, swimmers and spiritual concerns — Brown’s departure in style was complete. Things would get only more pared-down and direct from here, as figures became silhouettes and outlines, and settings became opportunities to revel in retina-zinging color combinations or dynamic repeated patterns.\u003c/p>\n\u003cfigure id=\"attachment_13921790\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200.jpg\" alt=\"Painting of woman in blue dress standing beside fireplace with painting above\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13921790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-768x941.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘After the Alcatraz Swim #1,’ 1975; Collection of Maryellen and Frank Herringer, promised gift to the San Francisco Museum of Modern Art. \u003ccite>(© Estate of Joan Brown; Photo: Katherine Du Tiel; courtesy San Francisco Museum of Modern Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the show’s center, work informed by Brown’s love for open-water swimming occupies an entire gallery. Three contemplative self-portraits depict Brown before and after an attempt to complete the first all-women’s swim from Alcatraz Island to Aquatic Park in 1975 (a passing freighter created disorienting 13-foot waves). These paintings tell the story of that traumatic swim at a remove: in some, Brown wears a freighter pattern on her dress; in others, the chaotic scene is depicted as a painting within the painting.\u003c/p>\n\u003cp>This is a regular Brown motif, often used to cite art historical antecedents. In \u003ci>The Search\u003c/i> (1977), she paints herself in a diaphanous purple dress, working on a painting of Nofret, a princess from Egypt’s Fourth Dynasty. Here and in other self-portraits, Brown stares out from the canvas blank-faced, letting details like a dripping brush emphasize her identity as a painter.\u003c/p>\n\u003cp>The final years of Brown’s life were marked by a turn towards New Age spirituality, with a focus on the teachings of Indian guru Sathya Sai Baba. Self-portraiture became a path towards self-knowledge and transcendence, and Brown painted herself alongside constellations, occult theosophical symbols and the Chinese zodiac.\u003c/p>\n\u003cfigure id=\"attachment_13921786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200.jpg\" alt=\"Two paintings side by side, both self-portraits\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">At left, Joan Brown’s painting ‘Harmony’ (1982); at right, ‘Self-Portrait in Studio’ (1984), which contains the residue of ‘Harmony’ as a blue curve on the studio wall. \u003ccite>(Both © Estate of Joan Brown; Right photo courtesy Yale University Art Gallery, New Haven )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fantastic exhibition catalog, art historian Marci Kwon’s essay examines Brown’s use of non-Western art as a source material. Searching for commonalities between Chinese, Egyptian, Indian, Maya and Aztec imagery, Kwon writes, “Brown endeavored to paint this mystical world without difference, and yet her work teems with moments in which difference is not only present but intensified.” (At SFMOMA, for instance, paintings including Chinese and Sanskrit text are written incorrectly or with extra flourishes, turning Brown’s attempts at universality into decoration.)\u003c/p>\n\u003cp>Brown died, along with two assistants, in 1990 at the age of 52 from a tower collapse while installing an obelisk at Sai Baba’s Eternal Heritage Museum in Puttaparthi, India. And while she held great disdain for art critics and art historians, I wonder how she might have absorbed critical thoughts on her work had she lived to make more of it. Brown’s view of the world, once she passed through that colorful, flattened portal, had her at its center — often quite literally. But in her idiosyncratic style and her steadfast trust in her own instincts, she created a model for what it can look like to make art on one’s own terms, and toward one’s own end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Joan Brown’ is on view at the San Francisco Museum of Modern Art Nov. 19, 2023–March 12, 2023. \u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The SFMOMA retrospective pays homage to a San Francisco artist who was resolutely herself.","status":"publish","parent":0,"modified":1705006142,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1277},"headData":{"title":"‘Joan Brown’ at SFMOMA: A Celebration of a Singular SF Artist | KQED","description":"The SFMOMA retrospective pays homage to a San Francisco artist who was resolutely herself.","ogTitle":"Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces","ogDescription":"","ogImgId":"","twTitle":"Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces","twDescription":"","twImgId":"","socialTitle":"‘Joan Brown’ at SFMOMA: A Celebration of a Singular SF Artist %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Joan Brown Was a Singular Painter — of Dogs, Cats and Richly Symbolic Spaces","datePublished":"2022-11-18T00:59:19.000Z","dateModified":"2024-01-11T20:49:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921767/joan-brown-retrospective-sfmoma-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s evident from the very start that the San Francisco Museum of Modern Art’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\">Joan Brown\u003c/a>\u003c/i> retrospective is going to be a bit different. It could have something to do with the painted walls that greet you off the seventh-floor elevator (peach and bright orange). It could be the deliciously unhinged wall text next to \u003ci>Joan + Donald\u003c/i>, a 1982 painting of Brown holding a squirming tabby cat. (Hint: it involves declaring the cat a tax write-off and an IRS audit, no spoilers here.) But really it’s just the fact that this is a Joan Brown show, and Joan Brown was a singular artist.\u003c/p>\n\u003cp>Curated by SFMOMA’s Janet Bishop and Nancy Lim, this retrospective is the late San Francisco artist’s first in over 20 years. Following Brown’s career from her art school days at the California School of Fine Arts (now the San Francisco Art Institute) to her untimely death at the age of 52, the show moves fluidly through Brown’s evolving style and subject matter. The extended pieces of wall text are full of delightful autobiographical details and images of Brown’s own paint-covered visual references.\u003c/p>\n\u003cp>It’s hard to believe, looking at her assured, large-scale figurative paintings, that Brown almost didn’t become an artist. She applied to CSFA — with a portfolio of drawings of movie stars — on the eve of her enrollment at an all-girls Catholic college. And she did not transition to art school easily. On the verge of dropping out after one year (her prim mother, aghast at the nude models, would have rejoiced), she took a summer painting course with Elmer Bischoff, who became a lifelong mentor and friend.\u003c/p>\n\u003cfigure id=\"attachment_13921782\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200.jpg\" alt=\"Brushy painting of cooked turkey against green background\" width=\"1200\" height=\"1195\" class=\"size-full wp-image-13921782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/01_Joan-Brown_Thanksgiving-Turkey_1959_1200-768x765.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Thanksgiving Turkey,’ 1959; The Museum of Modern Art, New York. \u003ccite>(© Estate of Joan Brown; Photo © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bischoff encouraged Brown to paint the stuff of everyday life, teaching her to trust her own instincts above art world fads and critical responses (a lesson that would serve her well in the next three decades). In that class, Brown learned to love paint. Her pieces from those early years are thickly impastoed; some look like they could \u003ci>still\u003c/i> be wet. Comically large brushes were involved — sometimes even trowels — as Brown layered large swaths of house paint in swirling images of women swimming; her son under a heavily decorated Christmas tree; dogs; her domestic space; and a Thanksgiving turkey.\u003c/p>\n\u003cp>Brown found remarkable and rapid success early in her career. Painted in 1959, that aforementioned turkey was purchased by the Museum of Modern Art in New York when Brown was only 22 years old. By 1964, her work had appeared on the cover of \u003ci>Artforum\u003c/i> (the accompanying article dubbed her “Everybody’s Darling”), in group exhibitions at the Whitney, the San Francisco Museum of Art (now SFMOMA), and in two successful solo exhibitions with New York’s Staempfli Gallery. But she was disenchanted with her heavy brushwork, and, trusting her instincts, she decided to pursue a new direction in her work, refusing gallery shows for the next three years.\u003c/p>\n\u003cfigure id=\"attachment_13921783\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200.jpg\" alt=\"Painting of gray cat in center of fantastical brightly colored landscape\" width=\"1200\" height=\"984\" class=\"size-full wp-image-13921783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-1020x836.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/05_Joan-Brown_Grey-Cat-with-Madrone-and-Birch-Trees_1968_1200-768x630.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Grey Cat with Madrone and Birch Trees,’ 1968; Museum of Fine Arts, Boston. \u003ccite>(© Estate of Joan Brown; Photo © 2022 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the SFMOMA retrospective, this shift comes suddenly, via \u003ci>Gray Cat with Madrone and Birch Trees\u003c/i> (1968), a large-scale canvas that references Henri Rousseau’s tropical landscapes. In comparison to her earlier work, this painting’s surface is nearly flat, its subjects rendered distinctly; a large gray cat stares out from a spare landscape of olive and ochre, topped by a nuclear orange sky. This is a deeply weird painting, a portal to another way of rendering Brown’s view of the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While her subject matter would shift over the next two decades (except for animals, a steady constant) — to frank self-portraits, dancers, swimmers and spiritual concerns — Brown’s departure in style was complete. Things would get only more pared-down and direct from here, as figures became silhouettes and outlines, and settings became opportunities to revel in retina-zinging color combinations or dynamic repeated patterns.\u003c/p>\n\u003cfigure id=\"attachment_13921790\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200.jpg\" alt=\"Painting of woman in blue dress standing beside fireplace with painting above\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13921790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/16_Joan-Brown_After-the-Alcatraz-Swim-1_1975_1200-768x941.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘After the Alcatraz Swim #1,’ 1975; Collection of Maryellen and Frank Herringer, promised gift to the San Francisco Museum of Modern Art. \u003ccite>(© Estate of Joan Brown; Photo: Katherine Du Tiel; courtesy San Francisco Museum of Modern Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the show’s center, work informed by Brown’s love for open-water swimming occupies an entire gallery. Three contemplative self-portraits depict Brown before and after an attempt to complete the first all-women’s swim from Alcatraz Island to Aquatic Park in 1975 (a passing freighter created disorienting 13-foot waves). These paintings tell the story of that traumatic swim at a remove: in some, Brown wears a freighter pattern on her dress; in others, the chaotic scene is depicted as a painting within the painting.\u003c/p>\n\u003cp>This is a regular Brown motif, often used to cite art historical antecedents. In \u003ci>The Search\u003c/i> (1977), she paints herself in a diaphanous purple dress, working on a painting of Nofret, a princess from Egypt’s Fourth Dynasty. Here and in other self-portraits, Brown stares out from the canvas blank-faced, letting details like a dripping brush emphasize her identity as a painter.\u003c/p>\n\u003cp>The final years of Brown’s life were marked by a turn towards New Age spirituality, with a focus on the teachings of Indian guru Sathya Sai Baba. Self-portraiture became a path towards self-knowledge and transcendence, and Brown painted herself alongside constellations, occult theosophical symbols and the Chinese zodiac.\u003c/p>\n\u003cfigure id=\"attachment_13921786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200.jpg\" alt=\"Two paintings side by side, both self-portraits\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/19_Joan-Brown_HarmonySelfPortrait_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">At left, Joan Brown’s painting ‘Harmony’ (1982); at right, ‘Self-Portrait in Studio’ (1984), which contains the residue of ‘Harmony’ as a blue curve on the studio wall. \u003ccite>(Both © Estate of Joan Brown; Right photo courtesy Yale University Art Gallery, New Haven )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fantastic exhibition catalog, art historian Marci Kwon’s essay examines Brown’s use of non-Western art as a source material. Searching for commonalities between Chinese, Egyptian, Indian, Maya and Aztec imagery, Kwon writes, “Brown endeavored to paint this mystical world without difference, and yet her work teems with moments in which difference is not only present but intensified.” (At SFMOMA, for instance, paintings including Chinese and Sanskrit text are written incorrectly or with extra flourishes, turning Brown’s attempts at universality into decoration.)\u003c/p>\n\u003cp>Brown died, along with two assistants, in 1990 at the age of 52 from a tower collapse while installing an obelisk at Sai Baba’s Eternal Heritage Museum in Puttaparthi, India. And while she held great disdain for art critics and art historians, I wonder how she might have absorbed critical thoughts on her work had she lived to make more of it. Brown’s view of the world, once she passed through that colorful, flattened portal, had her at its center — often quite literally. But in her idiosyncratic style and her steadfast trust in her own instincts, she created a model for what it can look like to make art on one’s own terms, and toward one’s own end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Joan Brown’ is on view at the San Francisco Museum of Modern Art Nov. 19, 2023–March 12, 2023. \u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921767/joan-brown-retrospective-sfmoma-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10342","arts_10278","arts_2636","arts_769","arts_1381","arts_585"],"featImg":"arts_13921785","label":"arts_140"},"arts_13919766":{"type":"posts","id":"arts_13919766","meta":{"index":"posts_1591205157","site":"arts","id":"13919766","score":null,"sort":[1664396699000]},"guestAuthors":[],"slug":"grace-rosario-perkins-hermits-lamp-cushion-works","title":"Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’","publishDate":1664396699,"format":"standard","headTitle":"Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In tarot, the hermit card represents contemplation and self-discovery; his lamp symbolizes the inner wisdom needed to forge one’s own path. It’s fitting, then, that this form of illumination is the guiding metaphor for \u003ca href=\"https://www.cushionworks.info/exhibitions/grace-rosario-perkins-hermits-lamp\" rel=\"noopener noreferrer\" target=\"_blank\">Grace Rosario Perkins’ exhibition\u003c/a> at San Francisco’s Cushion Works: a new and original body of work made in solitary, independent progress. \u003c/p>\n\u003cp>\u003ca href=\"http://www.gracerosarioperkins.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Perkins\u003c/a> has successfully pursued her own path as a self-taught artist with a punk aesthetic, creating paintings that reference aspects of her personal life, including her queer and Indigenous identity. Over the past year, she says she has felt a bit like a hermit, isolated from the rest of the world in Albuquerque—where she moved from the Bay Area to be closer to family—and cloistered in her studio, furiously working away on 16 paintings (all created in 2022) for exhibitions at Cushion Works and the \u003ca href=\"https://moca-tucson.org/exhibition/grace-rosario-perkins/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of Contemporary Art Tucson\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919777\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GRP_1200.jpg\" alt=\"Vertically oriented abstract painting with blues and greens\" width=\"1200\" height=\"1458\" class=\"size-full wp-image-13919777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-800x972.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-1020x1239.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-768x933.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘Forgiveness,’ 2022; acrylic, spray paint, bingo cards, ink, and bumper sticker. \u003ccite>(Courtesy of Cushion Works; photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judging by the self-assuredness and power of the seven large paintings on view at Cushion Works, she has benefited from this period of focus. All of the pieces in \u003cem>Hermit’s Lamp\u003c/em> are visceral and dynamic, made up of rough, expressive marks applied intuitively and rapidly with acrylic and spray paint. Ablaze with color, they brim with an eclectic mix of drawing, writing and collage.\u003c/p>\n\u003cp>Phrases appear in many of the paintings: “All is well,” “Up yours,” and “Yes!” Collage elements include pieces of old paintings, family photographs, bingo cards, and a humorous bumper sticker that reads “Honk if you are on drugs.” Several of the paintings feature sketches influenced by book illustrations. Perkins’ recent inspirations include the bad graffiti and old signs she sees around Albuquerque. \u003c/p>\n\u003cp>Perkins has created a unique visual vocabulary. The paintings are busy and complex, but each has its own sense of unity. As gallerist Jordan Stein observes, it’s impressive that Perkins is able to make such a loaded combination of elements “work.” \u003c/p>\n\u003cfigure id=\"attachment_13919775\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GRP_personality_1200.jpg\" alt=\"Two images, at left full abstract painting with blues and pinks, at right close-up of handwritten page\" width=\"1200\" height=\"721\" class=\"size-full wp-image-13919775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-1020x613.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘A Paradigm of Jealousy,’ 2022; acrylic, spray paint, and paper. \u003ccite>(Courtesy of Cushion Works; photos by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paintings like \u003cem>A Paradigm of Jealousy\u003c/em> reflect this riotous synthesis. Made up of saccharine pinks and cobalt blue, muddy greens and pure black, the canvas includes a large, crudely drawn snake at the center, the words “feel the heat” and “trust” scrawled into the paint, and a piece of loose-leaf paper fixed to the surface. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The viewer must lean in close to read the tiny cursive on the page: lyrics from a punk band the artist belonged to in her 20s that sarcastically read, “It will be so nice when I have a personality.” One blue splotch of spray paint helps merge the crumpled page with the surrounding painting. \u003c/p>\n\u003cp>Perkins does not intend a singular, linear reading of any of her paintings, although she does see each as having an overall emotional theme, such as jealousy, forgiveness or protection, often encapsulated by the titles. She invites intimacy with bits of ephemera from her personal life, while her use of abstraction and layering creates a distance that complicates the work, multiplying potential readings.\u003c/p>\n\u003cfigure id=\"attachment_13919776\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Cheii_comp_1200.jpg\" alt=\"Two images, at left full colorful abstract painting, at right photo of group of children embracing, smiling\" width=\"1200\" height=\"735\" class=\"size-full wp-image-13919776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-768x470.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘Cheii Knew We Were in The White World,’ 2022; acrylic, spray paint, photograph, and necklace. \u003ccite>(Courtesy of Cushion Works; photos by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest painting in the exhibition, \u003cem>Cheii Knew We Were in The White World\u003c/em>, is its most intimate and poignant. Buried within this roughly 6.5-by-7.5-foot abstract painting are two small personal details. The first is a childhood photograph of Perkins and several of her cousins in Fort Defiance, a town within the Navajo Nation (the artist is on the far right). The title refers to the varying ways the cousins have become distanced from traditional Indigenous life, raised by parents who were educated at boarding schools and living off the reservation. The large pink circle is like a boundary of protection buffering them from “the white world,” cast by their grandfather, who was a medicine man (“cheii” is a Diné word for grandfather). The area inside the circle is teeming with life: blossoming flowers, blue sky and energetic colors, shapes and lines. \u003c/p>\n\u003cp>Another very personal detail, practically hidden, is a necklace pinned to the painting’s surface that reads “girls,” a reference to both the girls in the photograph and the artist’s queer identity. The enclosure may signify her grandfather’s protection, but Perkins has also cast her own spell in this painting, a reflection of her own agency.\u003c/p>\n\u003cp>Perkins notes that as she gets older, she feels able to illuminate her experiences in a new way. She’s more comfortable letting the work develop according to its own timeline and needs. This confidence and perspective is especially encapsulated by a work titled \u003cem>I See Myself (And It’s Stepping Into A New Self)\u003c/em>. A singular image of an intricate web evokes fate, interconnection and being at the center of one’s own journey, which is exactly where Perkins, with the help of her hermit’s lamp, seems to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hermit’s Lamp’ is on view at Cushion Works (3320 18th Street, San Francisco) through October 29. \u003ca href=\"https://www.cushionworks.info/exhibitions/grace-rosario-perkins-hermits-lamp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The artist’s dynamic paintings are punctuated with intimate details, including references to her queer and Indigenous identity.","status":"publish","parent":0,"modified":1705006329,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":929},"headData":{"title":"Grace Rosario Perkins’ New Paintings Light Up Cushion Works | KQED","description":"The artist’s dynamic paintings are punctuated with intimate details, including references to her queer and Indigenous identity.","ogTitle":"Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’","ogDescription":"","ogImgId":"","twTitle":"Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’","twDescription":"","twImgId":"","socialTitle":"Grace Rosario Perkins’ New Paintings Light Up Cushion Works %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Grace Rosario Perkins Lights Up Cushion Works with the Paintings of ‘Hermit’s Lamp’","datePublished":"2022-09-28T20:24:59.000Z","dateModified":"2024-01-11T20:52:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Suzanne L’Heureux","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13919766/grace-rosario-perkins-hermits-lamp-cushion-works","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In tarot, the hermit card represents contemplation and self-discovery; his lamp symbolizes the inner wisdom needed to forge one’s own path. It’s fitting, then, that this form of illumination is the guiding metaphor for \u003ca href=\"https://www.cushionworks.info/exhibitions/grace-rosario-perkins-hermits-lamp\" rel=\"noopener noreferrer\" target=\"_blank\">Grace Rosario Perkins’ exhibition\u003c/a> at San Francisco’s Cushion Works: a new and original body of work made in solitary, independent progress. \u003c/p>\n\u003cp>\u003ca href=\"http://www.gracerosarioperkins.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Perkins\u003c/a> has successfully pursued her own path as a self-taught artist with a punk aesthetic, creating paintings that reference aspects of her personal life, including her queer and Indigenous identity. Over the past year, she says she has felt a bit like a hermit, isolated from the rest of the world in Albuquerque—where she moved from the Bay Area to be closer to family—and cloistered in her studio, furiously working away on 16 paintings (all created in 2022) for exhibitions at Cushion Works and the \u003ca href=\"https://moca-tucson.org/exhibition/grace-rosario-perkins/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of Contemporary Art Tucson\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919777\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GRP_1200.jpg\" alt=\"Vertically oriented abstract painting with blues and greens\" width=\"1200\" height=\"1458\" class=\"size-full wp-image-13919777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-800x972.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-1020x1239.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_1200-768x933.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘Forgiveness,’ 2022; acrylic, spray paint, bingo cards, ink, and bumper sticker. \u003ccite>(Courtesy of Cushion Works; photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judging by the self-assuredness and power of the seven large paintings on view at Cushion Works, she has benefited from this period of focus. All of the pieces in \u003cem>Hermit’s Lamp\u003c/em> are visceral and dynamic, made up of rough, expressive marks applied intuitively and rapidly with acrylic and spray paint. Ablaze with color, they brim with an eclectic mix of drawing, writing and collage.\u003c/p>\n\u003cp>Phrases appear in many of the paintings: “All is well,” “Up yours,” and “Yes!” Collage elements include pieces of old paintings, family photographs, bingo cards, and a humorous bumper sticker that reads “Honk if you are on drugs.” Several of the paintings feature sketches influenced by book illustrations. Perkins’ recent inspirations include the bad graffiti and old signs she sees around Albuquerque. \u003c/p>\n\u003cp>Perkins has created a unique visual vocabulary. The paintings are busy and complex, but each has its own sense of unity. As gallerist Jordan Stein observes, it’s impressive that Perkins is able to make such a loaded combination of elements “work.” \u003c/p>\n\u003cfigure id=\"attachment_13919775\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GRP_personality_1200.jpg\" alt=\"Two images, at left full abstract painting with blues and pinks, at right close-up of handwritten page\" width=\"1200\" height=\"721\" class=\"size-full wp-image-13919775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-1020x613.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GRP_personality_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘A Paradigm of Jealousy,’ 2022; acrylic, spray paint, and paper. \u003ccite>(Courtesy of Cushion Works; photos by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paintings like \u003cem>A Paradigm of Jealousy\u003c/em> reflect this riotous synthesis. Made up of saccharine pinks and cobalt blue, muddy greens and pure black, the canvas includes a large, crudely drawn snake at the center, the words “feel the heat” and “trust” scrawled into the paint, and a piece of loose-leaf paper fixed to the surface. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The viewer must lean in close to read the tiny cursive on the page: lyrics from a punk band the artist belonged to in her 20s that sarcastically read, “It will be so nice when I have a personality.” One blue splotch of spray paint helps merge the crumpled page with the surrounding painting. \u003c/p>\n\u003cp>Perkins does not intend a singular, linear reading of any of her paintings, although she does see each as having an overall emotional theme, such as jealousy, forgiveness or protection, often encapsulated by the titles. She invites intimacy with bits of ephemera from her personal life, while her use of abstraction and layering creates a distance that complicates the work, multiplying potential readings.\u003c/p>\n\u003cfigure id=\"attachment_13919776\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Cheii_comp_1200.jpg\" alt=\"Two images, at left full colorful abstract painting, at right photo of group of children embracing, smiling\" width=\"1200\" height=\"735\" class=\"size-full wp-image-13919776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Cheii_comp_1200-768x470.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Grace Rosario Perkins, ‘Cheii Knew We Were in The White World,’ 2022; acrylic, spray paint, photograph, and necklace. \u003ccite>(Courtesy of Cushion Works; photos by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest painting in the exhibition, \u003cem>Cheii Knew We Were in The White World\u003c/em>, is its most intimate and poignant. Buried within this roughly 6.5-by-7.5-foot abstract painting are two small personal details. The first is a childhood photograph of Perkins and several of her cousins in Fort Defiance, a town within the Navajo Nation (the artist is on the far right). The title refers to the varying ways the cousins have become distanced from traditional Indigenous life, raised by parents who were educated at boarding schools and living off the reservation. The large pink circle is like a boundary of protection buffering them from “the white world,” cast by their grandfather, who was a medicine man (“cheii” is a Diné word for grandfather). The area inside the circle is teeming with life: blossoming flowers, blue sky and energetic colors, shapes and lines. \u003c/p>\n\u003cp>Another very personal detail, practically hidden, is a necklace pinned to the painting’s surface that reads “girls,” a reference to both the girls in the photograph and the artist’s queer identity. The enclosure may signify her grandfather’s protection, but Perkins has also cast her own spell in this painting, a reflection of her own agency.\u003c/p>\n\u003cp>Perkins notes that as she gets older, she feels able to illuminate her experiences in a new way. She’s more comfortable letting the work develop according to its own timeline and needs. This confidence and perspective is especially encapsulated by a work titled \u003cem>I See Myself (And It’s Stepping Into A New Self)\u003c/em>. A singular image of an intricate web evokes fate, interconnection and being at the center of one’s own journey, which is exactly where Perkins, with the help of her hermit’s lamp, seems to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hermit’s Lamp’ is on view at Cushion Works (3320 18th Street, San Francisco) through October 29. \u003ca href=\"https://www.cushionworks.info/exhibitions/grace-rosario-perkins-hermits-lamp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919766/grace-rosario-perkins-hermits-lamp-cushion-works","authors":["byline_arts_13919766"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_3649","arts_2636","arts_769","arts_585"],"featImg":"arts_13919774","label":"arts_140"},"arts_13914758":{"type":"posts","id":"arts_13914758","meta":{"index":"posts_1591205157","site":"arts","id":"13914758","score":null,"sort":[1655501665000]},"guestAuthors":[],"slug":"ari-bird-featured-artist-of-the-week","title":"In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art","publishDate":1655501665,"format":"standard","headTitle":"In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art | KQED","labelTerm":{"term":17807,"site":"arts"},"content":"\u003cp>Imagine your everyday household objects: an abandoned crusty tube sock, a single earring, the bread clip that holds a bag together. For Oakland and San Diego-based visual artist \u003ca href=\"https://www.aribird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ari Bird\u003c/a>, these banal items are the inspiration for the creation of large gradient paintings, sculptures and installations.\u003c/p>\n\u003cp>Throughout her life, Bird has accumulated, made and organized objects as an evolution of self-expression. “I started drawing, learned printmaking/bookbinding/zine making, shifted to painting, which led to sculptures,” says the artist, “which eventually caused me to want to create ‘environments’ of all my objects.”\u003c/p>\n\u003cp>She’s inspired by objects that are oddly satisfying, like the wonky graphics on a fruit-packing box, the texture of the perfectly packaged dollar-store toy, or notes and doodles scrawled on a piece of paper by a kid and then abandoned. “My expression is tactile and somatic,” says the artist. “I tend to process my surroundings, emotions and behaviors in my body first. Before intellectualizing or visualizing things, I have the impulse to act or do.”\u003c/p>\n\u003cfigure id=\"attachment_13914918\" class=\"wp-caption aligncenter\" style=\"max-width: 1933px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/IMG_4056-1-scaled.jpeg\" alt=\"Image of giant white tube sock with shorter artist standing behind it\" width=\"1933\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-scaled.jpeg 1933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-800x1060.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1020x1351.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-160x212.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-768x1017.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1160x1536.jpeg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1546x2048.jpeg 1546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1920x2543.jpeg 1920w\" sizes=\"(max-width: 1933px) 100vw, 1933px\">\u003cfigcaption class=\"wp-caption-text\">Ari Bird, ‘Crusty Tube Sock,’ 2022; fabric, dye. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bird also works as restoration painter at Oakland’s \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a>, and she’s started fabricating props for music videos, fashion shoots and drag shows.\u003c/p>\n\u003cp>As for her artistic worldview? Bird channels Lebanese-Canadian designer, writer and activist Céline Vernon who says, “Everything you make returns to the earth as food or poison.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think about this not only in terms of climate justice,” says Bird, “but also in terms of the many linking modes of oppression from macro to micro. By making objects that encourage myself and any viewer to question so-called norms, I hope to return more food rather than poison to the earth and my community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ari Bird’s solo installation ‘BAGGIES’ is on view at \u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Crisis Club Gallery\u003c/a> in Oakland through early August. She’s also in a four-person show at \u003ca href=\"https://www.instagram.com/rolodexgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rolodex Gallery\u003c/a> in Berkeley, on view through June 25. To see more work, visit her \u003ca href=\"https://www.instagram.com/ariibiird/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> or \u003ca href=\"http://www.aribird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her website\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-based visual artist takes inspiration from household items, dramatically blowing them up in scale.","status":"publish","parent":0,"modified":1705006705,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":371},"headData":{"title":"Featured Artist: Ari Bird Turns Everyday Objects into Oversized Art | KQED","description":"The Oakland-based visual artist takes inspiration from household items, dramatically blowing them up in scale.","ogTitle":"In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art","ogDescription":"","ogImgId":"","twTitle":"In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art","twDescription":"","twImgId":"","socialTitle":"Featured Artist: Ari Bird Turns Everyday Objects into Oversized Art%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Ari Bird’s World, Oddly Satisfying Everyday Objects Become Oversized Art","datePublished":"2022-06-17T21:34:25.000Z","dateModified":"2024-01-11T20:58:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Justin Ebrahemi","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","path":"/arts/13914758/ari-bird-featured-artist-of-the-week","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine your everyday household objects: an abandoned crusty tube sock, a single earring, the bread clip that holds a bag together. For Oakland and San Diego-based visual artist \u003ca href=\"https://www.aribird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ari Bird\u003c/a>, these banal items are the inspiration for the creation of large gradient paintings, sculptures and installations.\u003c/p>\n\u003cp>Throughout her life, Bird has accumulated, made and organized objects as an evolution of self-expression. “I started drawing, learned printmaking/bookbinding/zine making, shifted to painting, which led to sculptures,” says the artist, “which eventually caused me to want to create ‘environments’ of all my objects.”\u003c/p>\n\u003cp>She’s inspired by objects that are oddly satisfying, like the wonky graphics on a fruit-packing box, the texture of the perfectly packaged dollar-store toy, or notes and doodles scrawled on a piece of paper by a kid and then abandoned. “My expression is tactile and somatic,” says the artist. “I tend to process my surroundings, emotions and behaviors in my body first. Before intellectualizing or visualizing things, I have the impulse to act or do.”\u003c/p>\n\u003cfigure id=\"attachment_13914918\" class=\"wp-caption aligncenter\" style=\"max-width: 1933px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/IMG_4056-1-scaled.jpeg\" alt=\"Image of giant white tube sock with shorter artist standing behind it\" width=\"1933\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-scaled.jpeg 1933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-800x1060.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1020x1351.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-160x212.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-768x1017.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1160x1536.jpeg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1546x2048.jpeg 1546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/IMG_4056-1-1920x2543.jpeg 1920w\" sizes=\"(max-width: 1933px) 100vw, 1933px\">\u003cfigcaption class=\"wp-caption-text\">Ari Bird, ‘Crusty Tube Sock,’ 2022; fabric, dye. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bird also works as restoration painter at Oakland’s \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a>, and she’s started fabricating props for music videos, fashion shoots and drag shows.\u003c/p>\n\u003cp>As for her artistic worldview? Bird channels Lebanese-Canadian designer, writer and activist Céline Vernon who says, “Everything you make returns to the earth as food or poison.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think about this not only in terms of climate justice,” says Bird, “but also in terms of the many linking modes of oppression from macro to micro. By making objects that encourage myself and any viewer to question so-called norms, I hope to return more food rather than poison to the earth and my community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ari Bird’s solo installation ‘BAGGIES’ is on view at \u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Crisis Club Gallery\u003c/a> in Oakland through early August. She’s also in a four-person show at \u003ca href=\"https://www.instagram.com/rolodexgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rolodex Gallery\u003c/a> in Berkeley, on view through June 25. To see more work, visit her \u003ca href=\"https://www.instagram.com/ariibiird/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> or \u003ca href=\"http://www.aribird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her website\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914758/ari-bird-featured-artist-of-the-week","authors":["byline_arts_13914758"],"programs":["arts_17807"],"categories":["arts_1","arts_70"],"tags":["arts_17806","arts_2636","arts_1489","arts_901"],"featImg":"arts_13914915","label":"arts_17807"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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