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"content": "\u003cp>In 2012 \u003ca href=\"http://www.marissapatriceleitman.com/\">Marissa Patrice Leitman\u003c/a> started going to Aunt Charlie’s, a narrow hallway of a bar in the Tenderloin district, for High Fantasy, the lawless, now-defunct Tuesday drag night, with a hulking film camera and a long flash cord. Her documentation of the neighborhood’s last working-class gay bar in the years since shows intimate, sustained attention to a site of revelry and tenderness, release and hurt. The freelance photographer and cofounding director of artist-run performance space Hit Gallery developed a style in tandem with her deepening relationship to the bar’s community, showing how the boundaries between audience and performer eroded in riotous and sometimes subtle collective acts of self-discovery.\u003c/p>\n\u003cp>The pictures, some of which recently appeared in a \u003ca href=\"https://www.nightedlife.com/shop/everything\">book\u003c/a> published by Nighted Life, compose \u003cem>There Will Always Be Roses in San Francisco\u003c/em>, the latest in a series of Aunt Charlie’s-themed exhibitions at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>. Ahead of the show, which opens Thursday, Oct. 3 and runs through Sunday, Nov. 3, Leitman reflected on photographing the High Fantasy drag scene, and how it changed her own life. The conversation has been edited for concision and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13866946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg\" alt=\"Brittany Newell performs at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"778\" class=\"size-medium wp-image-13866946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1200x1168.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Newell performs at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about your introduction to Aunt Charlie’s?\u003c/strong>\u003c/p>\n\u003cp>It was in a stalker way: I knew about it before I moved to San Francisco from musicians and drag performers. On my first night, Colin Self performed. Sometimes it’s dead-ass empty, only old regulars. Other times people are slammed against the railing—it was one of those nights.\u003c/p>\n\u003cp>\u003cstrong>How did your first impression live up to your preconceived notion of the place?\u003c/strong>\u003c/p>\n\u003cp>It was ten times smaller than I thought, but it met the rest of my expectations. I was totally mystified. It had this esteem, my idea was of a cool, beautiful, glamorous place, and it is that. \u003c/p>\n\u003cp>\u003cstrong>You didn’t start going for a photography project. What attracted you to the community?\u003c/strong>\u003c/p>\n\u003cp>At first it was the façade, everybody acted like a celebrity. Whether or not they had much materially to show, they had the attitude. Later I liked how they would also just let you be. As glamorous and grandiose as it might be, it also has a familial, humble vibe. That comes from the bar historically—it’s the oldest gay bar in the Tenderloin, people there lived through AIDS. \u003c/p>\n\u003cp>High Fantasy specifically has traditional, older queens and also younger queens. There’s shade and arguments but not much judgment about whether one generation is better. And there’s drag kings and women who perform as drag queens. There’s no rules and everybody’s interacting. … At the last one, I thought, “If there was an earthquake that’d be fine, I could die here.” \u003c/p>\n\u003cfigure id=\"attachment_13866948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg\" alt=\"Matia Emsellem at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1200x1178.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matia Emsellem at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you earn the trust of the people you photographed?\u003c/strong>\u003c/p>\n\u003cp>I have photography ethics that drive me crazy—I won’t take pictures of people I don’t know. I went to a drag show last night in L.A. to see my friend, and I was getting stink-eye from people who thought I was being pretentious by refusing to take their picture. I’m trying to break some of these rules. I take pictures out of admiration—determining or admitting what I’m attracted to.\u003c/p>\n\u003cp>\u003cstrong>You have a conspicuous camera.\u003c/strong> \u003c/p>\n\u003cp>I purposefully use really big cameras. It’s a Mamiya C330 that makes me look like a steampunk or some kind of Victorian fetishist. It has an extended flash cord, like 20 feet long. I’m not very graceful with it either. I’m stumbling around with this giant cord wrapped around my neck.\u003c/p>\n\u003cp>\u003cstrong>In this setting some people are excited by the camera, right?\u003c/strong>\u003c/p>\n\u003cp>It’s a drag bar so there’s no shortage of vanity, and over time people become comfortable with the object, it has more presence than a point-and-shoot, a ritualistic way of presenting itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13867108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg\" alt=\"Marissa Leitman, self-portrait. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13867108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marissa Leitman, self-portrait. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your practice being about determining your attractions. How so?\u003c/strong>\u003c/p>\n\u003cp>I wonder how much it’s been sexually, I want it to be more. I have taken 50 pictures of someone I later realized I’m in love with. I’m honest but heavily in denial. Or I’m really emotional, but not good at admitting vulnerability and affections. I struggle to make eye contact even though I’m loud. It’s definitely a romantic thing, it helps me admit romance that’s sexual or not.\u003c/p>\n\u003cp>\u003cstrong>So you’ve learned a lot about yourself through Aunt Charlie’s, it sounds like.\u003c/strong>\u003c/p>\n\u003cp>I think everything. It’s a social boot camp. It’s small yet really glamorous, you have to interact with everybody, and everyone’s performing and expecting you to perform. That coupled with you’re next to the Tenderloin working-class community so there’s a genuine roughness. … Like you asked me earlier, sometimes I do look at photos and realize sexual attractions. But also you begin to understand how the presentation of sexy or sexuality happens—I do photos about that. \u003c/p>\n\u003cp>\u003cstrong>When you say “perform,” you don’t mean doing a set, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, in the way socializing is performing. There’s no real distinction between the performance that happens in the show and the performance that happens when you’re outside having a cigarette. It’s a queer thing: The performance is how you figure out who you are.\u003c/p>\n\u003cfigure id=\"attachment_13866986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg\" alt=\"Mandy Coco on Election Night 2016, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"788\" class=\"size-medium wp-image-13866986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco on Election Night 2016, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You were at Aunt Charlie’s on election night in 2016. What was that like?\u003c/strong>\u003c/p>\n\u003cp>We showed up early and started drinking out of dread. Everyone was drinking in a quiet, tense way—the room was full of ghosts. It was announced on TV before the show, which was designed like Hillary Clinton won, so it was sort of making fun of us. The picture I took of Mandy Coco holding the flag, she was performing “The Winner Takes it All” by ABBA as Hillary Clinton.\u003c/p>\n\u003cp>I told Barry [Duey, a bartender who died in 2017] I hoped Trump would get shot, saying it’ll be fine, someone will kill him. Barry said we’d get Pence, who’s worse. I had this understanding that this would be his last president. A girl outside was screaming. Older people were terrified in a dull, bitter way. It became a game: Pointing fingers at people who weren’t visibly upset.\u003c/p>\n\u003cp>\u003cstrong>In the picture Mandy’s screaming, mouth impossibly agape, and holding the flag like it’s a corpse. How do you know when to pull the shutter in the middle of a performance?\u003c/strong>\u003c/p>\n\u003cp>It’s luck. I’ve taken a lot of bad performance shots. That’s the only one I’ve ever really liked. I avoid them. I’m in a book club with a lot of people from Aunt Charlie’s, and we were talking one day about how drag history is always, like, the pictures are generally of the performance. Drag is more than that; it’s about how you pay attention to the culture—how you make fun of it, celebrate it, how you dress in context, exist in these places, and it’s extremely communal. \u003c/p>\n\u003cp>\u003cstrong>There’s a lot of flash in these photos, you’re using a square, medium format, and you reuse some approaches to situating bodies in the frame. How did you develop this style?\u003c/strong>\u003c/p>\n\u003cp>At first it was more messy. The shooting component is best when it’s as subconscious as possible. I noticed a few years ago that I was starting to think about shooting in terms of a style, which is never good because you feel restricted. Instead it should be about getting more access to things; looking at the world in new ways should come first, and then the art. So now a lot of the style kind of comes out in the selection process, you know, because I shoot a lot.\u003c/p>\n\u003cfigure id=\"attachment_13866947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg\" alt=\"Pepto Dismal at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1200x1177.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pepto Dismal at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another picture I really like has a drag queen with “For Rent” and “For Sale” signs slung around her neck—accessorizing with market speculation paraphernalia in this gesture of refusal.\u003c/strong>\u003c/p>\n\u003cp>That queen, Pepto, she went to [California College of the Arts], so her interaction with drag has been very camp, pretty punk. … I remember once in college where one of the criticisms I got went like, ‘Why don’t you take pictures of drag queens in the daytime?’ They wanted a serious portrait of a drag queen staring straight at the camera. They wanted an easy explanation. \u003c/p>\n\u003cp>\u003cstrong>What do you mean by ‘easy explanation?’\u003c/strong>\u003c/p>\n\u003cp>They wanted this serious after-hours, under-the-covers thing which, to me, a lot of these photos are in a way. But they wanted a backstage pass in a way that felt like bullshit, or not my job.\u003c/p>\n\u003cp>\u003cstrong>Do you mean they wanted to be shown how drag queens are also regular people or something?\u003c/strong>\u003c/p>\n\u003cp>They wanted me to normalize it. To me it’s best when it’s not. It’s not normal, it’s better. I was like, you want the pictures to be a reason not to go. You want to know everything before you get there. At the end you wanted your grand finale, your period, when that doesn’t really happen.\u003c/p>\n\u003cfigure id=\"attachment_13866949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg\" alt=\"Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-13866949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1200x1191.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Barry earlier. He’s one of the only people in multiple photos here. Who was he?\u003c/strong>\u003c/p>\n\u003cp>He was my best friend, still is. He bartended on Tuesdays for decades, and he looked like a truck driver. At the end of his shift he’d have a vodka cranberry juice and watch TV, telling stories about this ’70s cult, some love-related sex hippie cult where he learned he was gay. He had two major lovers later, why am I forgetting their names? I have the list on some napkins. \u003c/p>\n\u003cp>\u003cstrong>You have Barry’s lovers written on bar napkins?\u003c/strong>\u003c/p>\n\u003cp>Yeah, it was the night we became concrete friends. Sharon, Pindar from the cult, a Mormon from Salt Lake City, pencil-dick Paul—then it gets to the end, his last two lovers. One of them died of a drug overdose. Barry was madly in love with him, but he was a nightmare. Barry was impressed that he could take care of plants, but one day he goes on the patio and there’s like seven dead plants. He realized that the guy bought a new plant whenever one died—on Barry’s credit cards. Apparently one time he stole a bus with Barry’s drag queen roommate, Colette.\u003c/p>\n\u003cp>\u003cstrong>Why is the show called \u003cem>There Will Always Be Roses in San Francisco\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Aunt Charlie’s had this old, disgusting carpet forever until they changed it to a brown carpet with roses on it. It felt like the biggest luxury, everyone felt so regal on the squishy, rose carpet. My friend Brittany ended up in a K-hole on the ground stroking the floor, with her long, stringy fingers and going, ‘There’ll always be roses in San Francisco.’ It stuck with me as a weird, elegant and also crazy debaucherous moment that sits with the mentality of the bar.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "‘I Could Die Here’: Photographer Marissa Leitman on Self-Discovery at Aunt Charlie’s | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2012 \u003ca href=\"http://www.marissapatriceleitman.com/\">Marissa Patrice Leitman\u003c/a> started going to Aunt Charlie’s, a narrow hallway of a bar in the Tenderloin district, for High Fantasy, the lawless, now-defunct Tuesday drag night, with a hulking film camera and a long flash cord. Her documentation of the neighborhood’s last working-class gay bar in the years since shows intimate, sustained attention to a site of revelry and tenderness, release and hurt. The freelance photographer and cofounding director of artist-run performance space Hit Gallery developed a style in tandem with her deepening relationship to the bar’s community, showing how the boundaries between audience and performer eroded in riotous and sometimes subtle collective acts of self-discovery.\u003c/p>\n\u003cp>The pictures, some of which recently appeared in a \u003ca href=\"https://www.nightedlife.com/shop/everything\">book\u003c/a> published by Nighted Life, compose \u003cem>There Will Always Be Roses in San Francisco\u003c/em>, the latest in a series of Aunt Charlie’s-themed exhibitions at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>. Ahead of the show, which opens Thursday, Oct. 3 and runs through Sunday, Nov. 3, Leitman reflected on photographing the High Fantasy drag scene, and how it changed her own life. The conversation has been edited for concision and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13866946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg\" alt=\"Brittany Newell performs at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"778\" class=\"size-medium wp-image-13866946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1200x1168.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Newell performs at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about your introduction to Aunt Charlie’s?\u003c/strong>\u003c/p>\n\u003cp>It was in a stalker way: I knew about it before I moved to San Francisco from musicians and drag performers. On my first night, Colin Self performed. Sometimes it’s dead-ass empty, only old regulars. Other times people are slammed against the railing—it was one of those nights.\u003c/p>\n\u003cp>\u003cstrong>How did your first impression live up to your preconceived notion of the place?\u003c/strong>\u003c/p>\n\u003cp>It was ten times smaller than I thought, but it met the rest of my expectations. I was totally mystified. It had this esteem, my idea was of a cool, beautiful, glamorous place, and it is that. \u003c/p>\n\u003cp>\u003cstrong>You didn’t start going for a photography project. What attracted you to the community?\u003c/strong>\u003c/p>\n\u003cp>At first it was the façade, everybody acted like a celebrity. Whether or not they had much materially to show, they had the attitude. Later I liked how they would also just let you be. As glamorous and grandiose as it might be, it also has a familial, humble vibe. That comes from the bar historically—it’s the oldest gay bar in the Tenderloin, people there lived through AIDS. \u003c/p>\n\u003cp>High Fantasy specifically has traditional, older queens and also younger queens. There’s shade and arguments but not much judgment about whether one generation is better. And there’s drag kings and women who perform as drag queens. There’s no rules and everybody’s interacting. … At the last one, I thought, “If there was an earthquake that’d be fine, I could die here.” \u003c/p>\n\u003cfigure id=\"attachment_13866948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg\" alt=\"Matia Emsellem at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1200x1178.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matia Emsellem at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you earn the trust of the people you photographed?\u003c/strong>\u003c/p>\n\u003cp>I have photography ethics that drive me crazy—I won’t take pictures of people I don’t know. I went to a drag show last night in L.A. to see my friend, and I was getting stink-eye from people who thought I was being pretentious by refusing to take their picture. I’m trying to break some of these rules. I take pictures out of admiration—determining or admitting what I’m attracted to.\u003c/p>\n\u003cp>\u003cstrong>You have a conspicuous camera.\u003c/strong> \u003c/p>\n\u003cp>I purposefully use really big cameras. It’s a Mamiya C330 that makes me look like a steampunk or some kind of Victorian fetishist. It has an extended flash cord, like 20 feet long. I’m not very graceful with it either. I’m stumbling around with this giant cord wrapped around my neck.\u003c/p>\n\u003cp>\u003cstrong>In this setting some people are excited by the camera, right?\u003c/strong>\u003c/p>\n\u003cp>It’s a drag bar so there’s no shortage of vanity, and over time people become comfortable with the object, it has more presence than a point-and-shoot, a ritualistic way of presenting itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13867108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg\" alt=\"Marissa Leitman, self-portrait. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13867108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marissa Leitman, self-portrait. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your practice being about determining your attractions. How so?\u003c/strong>\u003c/p>\n\u003cp>I wonder how much it’s been sexually, I want it to be more. I have taken 50 pictures of someone I later realized I’m in love with. I’m honest but heavily in denial. Or I’m really emotional, but not good at admitting vulnerability and affections. I struggle to make eye contact even though I’m loud. It’s definitely a romantic thing, it helps me admit romance that’s sexual or not.\u003c/p>\n\u003cp>\u003cstrong>So you’ve learned a lot about yourself through Aunt Charlie’s, it sounds like.\u003c/strong>\u003c/p>\n\u003cp>I think everything. It’s a social boot camp. It’s small yet really glamorous, you have to interact with everybody, and everyone’s performing and expecting you to perform. That coupled with you’re next to the Tenderloin working-class community so there’s a genuine roughness. … Like you asked me earlier, sometimes I do look at photos and realize sexual attractions. But also you begin to understand how the presentation of sexy or sexuality happens—I do photos about that. \u003c/p>\n\u003cp>\u003cstrong>When you say “perform,” you don’t mean doing a set, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, in the way socializing is performing. There’s no real distinction between the performance that happens in the show and the performance that happens when you’re outside having a cigarette. It’s a queer thing: The performance is how you figure out who you are.\u003c/p>\n\u003cfigure id=\"attachment_13866986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg\" alt=\"Mandy Coco on Election Night 2016, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"788\" class=\"size-medium wp-image-13866986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco on Election Night 2016, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You were at Aunt Charlie’s on election night in 2016. What was that like?\u003c/strong>\u003c/p>\n\u003cp>We showed up early and started drinking out of dread. Everyone was drinking in a quiet, tense way—the room was full of ghosts. It was announced on TV before the show, which was designed like Hillary Clinton won, so it was sort of making fun of us. The picture I took of Mandy Coco holding the flag, she was performing “The Winner Takes it All” by ABBA as Hillary Clinton.\u003c/p>\n\u003cp>I told Barry [Duey, a bartender who died in 2017] I hoped Trump would get shot, saying it’ll be fine, someone will kill him. Barry said we’d get Pence, who’s worse. I had this understanding that this would be his last president. A girl outside was screaming. Older people were terrified in a dull, bitter way. It became a game: Pointing fingers at people who weren’t visibly upset.\u003c/p>\n\u003cp>\u003cstrong>In the picture Mandy’s screaming, mouth impossibly agape, and holding the flag like it’s a corpse. How do you know when to pull the shutter in the middle of a performance?\u003c/strong>\u003c/p>\n\u003cp>It’s luck. I’ve taken a lot of bad performance shots. That’s the only one I’ve ever really liked. I avoid them. I’m in a book club with a lot of people from Aunt Charlie’s, and we were talking one day about how drag history is always, like, the pictures are generally of the performance. Drag is more than that; it’s about how you pay attention to the culture—how you make fun of it, celebrate it, how you dress in context, exist in these places, and it’s extremely communal. \u003c/p>\n\u003cp>\u003cstrong>There’s a lot of flash in these photos, you’re using a square, medium format, and you reuse some approaches to situating bodies in the frame. How did you develop this style?\u003c/strong>\u003c/p>\n\u003cp>At first it was more messy. The shooting component is best when it’s as subconscious as possible. I noticed a few years ago that I was starting to think about shooting in terms of a style, which is never good because you feel restricted. Instead it should be about getting more access to things; looking at the world in new ways should come first, and then the art. So now a lot of the style kind of comes out in the selection process, you know, because I shoot a lot.\u003c/p>\n\u003cfigure id=\"attachment_13866947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg\" alt=\"Pepto Dismal at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1200x1177.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pepto Dismal at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another picture I really like has a drag queen with “For Rent” and “For Sale” signs slung around her neck—accessorizing with market speculation paraphernalia in this gesture of refusal.\u003c/strong>\u003c/p>\n\u003cp>That queen, Pepto, she went to [California College of the Arts], so her interaction with drag has been very camp, pretty punk. … I remember once in college where one of the criticisms I got went like, ‘Why don’t you take pictures of drag queens in the daytime?’ They wanted a serious portrait of a drag queen staring straight at the camera. They wanted an easy explanation. \u003c/p>\n\u003cp>\u003cstrong>What do you mean by ‘easy explanation?’\u003c/strong>\u003c/p>\n\u003cp>They wanted this serious after-hours, under-the-covers thing which, to me, a lot of these photos are in a way. But they wanted a backstage pass in a way that felt like bullshit, or not my job.\u003c/p>\n\u003cp>\u003cstrong>Do you mean they wanted to be shown how drag queens are also regular people or something?\u003c/strong>\u003c/p>\n\u003cp>They wanted me to normalize it. To me it’s best when it’s not. It’s not normal, it’s better. I was like, you want the pictures to be a reason not to go. You want to know everything before you get there. At the end you wanted your grand finale, your period, when that doesn’t really happen.\u003c/p>\n\u003cfigure id=\"attachment_13866949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg\" alt=\"Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-13866949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1200x1191.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Barry earlier. He’s one of the only people in multiple photos here. Who was he?\u003c/strong>\u003c/p>\n\u003cp>He was my best friend, still is. He bartended on Tuesdays for decades, and he looked like a truck driver. At the end of his shift he’d have a vodka cranberry juice and watch TV, telling stories about this ’70s cult, some love-related sex hippie cult where he learned he was gay. He had two major lovers later, why am I forgetting their names? I have the list on some napkins. \u003c/p>\n\u003cp>\u003cstrong>You have Barry’s lovers written on bar napkins?\u003c/strong>\u003c/p>\n\u003cp>Yeah, it was the night we became concrete friends. Sharon, Pindar from the cult, a Mormon from Salt Lake City, pencil-dick Paul—then it gets to the end, his last two lovers. One of them died of a drug overdose. Barry was madly in love with him, but he was a nightmare. Barry was impressed that he could take care of plants, but one day he goes on the patio and there’s like seven dead plants. He realized that the guy bought a new plant whenever one died—on Barry’s credit cards. Apparently one time he stole a bus with Barry’s drag queen roommate, Colette.\u003c/p>\n\u003cp>\u003cstrong>Why is the show called \u003cem>There Will Always Be Roses in San Francisco\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Aunt Charlie’s had this old, disgusting carpet forever until they changed it to a brown carpet with roses on it. It felt like the biggest luxury, everyone felt so regal on the squishy, rose carpet. My friend Brittany ended up in a K-hole on the ground stroking the floor, with her long, stringy fingers and going, ‘There’ll always be roses in San Francisco.’ It stuck with me as a weird, elegant and also crazy debaucherous moment that sits with the mentality of the bar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Comedy Wildlife Finalists Offer Ode to Silly Serendipity",
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"content": "\u003cp>Sure, it’s unlikely that the Japanese macaque you see above actually threw up a \u003ca href=\"https://twitter.com/pigsandplans/status/878030806349889537\">Wu-Tang sign\u003c/a>. Probably by some providential mix of the photographer’s skill, patience and plain old dumb luck, this deadpan monkey stumbled into a funny looking moment—not a lifelong appreciation for \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">RZA & Co.\u003c/a>\u003c/p>\n\u003cp>Still, though: Isn’t it pretty funny to think so?\u003c/p>\n\u003cp>The finalists for the \u003ca href=\"https://www.comedywildlifephoto.com/\">2019 Comedy Wildlife Photography Awards\u003c/a>, unveiled Wednesday, teem with happy accidents such as this. The 40 photographs that got the nod feature a variety of animals caught in the act—though of just what, exactly, is not always clear.\u003c/p>\n\u003cfigure id=\"attachment_13866297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg\" alt=\"This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that. \u003ccite>(Geert Weggen/Comedy Wildlife Photo Awards 2019)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a squirrel burying its nose in a dandelion apparently to wish on its seeds. A couple of chill otters waving. An embarrassed bear, a pompous chimp, a flatulent penguin—and one suggestive scene that might not be quite right for a family news outlet.\u003c/p>\n\u003cp>You can check them all out for yourself \u003ca href=\"https://www.comedywildlifephoto.com/gallery/2019_finalists.php\">right here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A panel of judges will decide the winner on Nov. 13. Whoever takes home the prize will get a trophy and a chance to join a weeklong safari in Kenya. But folks at home can pick their favorite as well by voting for the people’s choice award.\u003c/p>\n\u003cp>“Every year we do this competition, it gets more and more exciting seeing how people visualize the funny sides of wildlife in the wild,” said Paul Joynson-Hicks, who founded the competition about four years ago and manages it with Tom Sullam.\u003c/p>\n\u003cp>They say the contest is a lighthearted way of raising awareness about the environment. The contest has partnered with \u003ca href=\"https://www.bornfree.org.uk/\">Born Free\u003c/a>, a wildlife activism group, and on the prize’s website is a\u003ca href=\"https://www.comedywildlifephoto.com/conservation.php\"> list of suggestions\u003c/a> on “how to be a conservationist.”\u003c/p>\n\u003cp>“Our planet is in distress, we all know that, now we just need to know what to do,” Joynson-Hicks added in his statement released Wednesday. “Hopefully, we can provide a few small tips to get people started.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, here are a few more glimpses of the tiny wonders of serendipity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PHOTOS%3A+Comedy+Wildlife+Finalists+Offer+Ode+To+Silly+Serendipity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, it’s unlikely that the Japanese macaque you see above actually threw up a \u003ca href=\"https://twitter.com/pigsandplans/status/878030806349889537\">Wu-Tang sign\u003c/a>. Probably by some providential mix of the photographer’s skill, patience and plain old dumb luck, this deadpan monkey stumbled into a funny looking moment—not a lifelong appreciation for \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">RZA & Co.\u003c/a>\u003c/p>\n\u003cp>Still, though: Isn’t it pretty funny to think so?\u003c/p>\n\u003cp>The finalists for the \u003ca href=\"https://www.comedywildlifephoto.com/\">2019 Comedy Wildlife Photography Awards\u003c/a>, unveiled Wednesday, teem with happy accidents such as this. The 40 photographs that got the nod feature a variety of animals caught in the act—though of just what, exactly, is not always clear.\u003c/p>\n\u003cfigure id=\"attachment_13866297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg\" alt=\"This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that. \u003ccite>(Geert Weggen/Comedy Wildlife Photo Awards 2019)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a squirrel burying its nose in a dandelion apparently to wish on its seeds. A couple of chill otters waving. An embarrassed bear, a pompous chimp, a flatulent penguin—and one suggestive scene that might not be quite right for a family news outlet.\u003c/p>\n\u003cp>You can check them all out for yourself \u003ca href=\"https://www.comedywildlifephoto.com/gallery/2019_finalists.php\">right here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A panel of judges will decide the winner on Nov. 13. Whoever takes home the prize will get a trophy and a chance to join a weeklong safari in Kenya. But folks at home can pick their favorite as well by voting for the people’s choice award.\u003c/p>\n\u003cp>“Every year we do this competition, it gets more and more exciting seeing how people visualize the funny sides of wildlife in the wild,” said Paul Joynson-Hicks, who founded the competition about four years ago and manages it with Tom Sullam.\u003c/p>\n\u003cp>They say the contest is a lighthearted way of raising awareness about the environment. The contest has partnered with \u003ca href=\"https://www.bornfree.org.uk/\">Born Free\u003c/a>, a wildlife activism group, and on the prize’s website is a\u003ca href=\"https://www.comedywildlifephoto.com/conservation.php\"> list of suggestions\u003c/a> on “how to be a conservationist.”\u003c/p>\n\u003cp>“Our planet is in distress, we all know that, now we just need to know what to do,” Joynson-Hicks added in his statement released Wednesday. “Hopefully, we can provide a few small tips to get people started.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, here are a few more glimpses of the tiny wonders of serendipity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PHOTOS%3A+Comedy+Wildlife+Finalists+Offer+Ode+To+Silly+Serendipity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Influential Documentary Photographer Robert Frank",
"headTitle": "Remembering Influential Documentary Photographer Robert Frank | KQED",
"content": "\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In \u003cem>The Americans\u003c/em>, a book of photos taken while road-tripping across the country in the 1950s, his portrait of the United States was dark, grainy and free from nostalgia. He died on Monday night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At BAMPFA, 'The San Quentin Project' Rewrites the History of Prison Imagery",
"headTitle": "At BAMPFA, ‘The San Quentin Project’ Rewrites the History of Prison Imagery | KQED",
"content": "\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Artist Nigel Poor presents photographs from the prison's archive annotated by her incarcerated students, dissecting the imagery of official narratives.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started with a box of negatives.\u003c/p>\n\u003cp>In 2012, Bay Area photographer, educator and \u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">podcast host\u003c/a> \u003ca href=\"https://nigelpoor.com/about/\" target=\"_blank\" rel=\"noopener\">Nigel Poor\u003c/a> was one year into teaching the course “Visual Concerns in Photography” at San Quentin State Prison when administrators gave her a box containing thousands of unorganized negatives—images produced between the 1930s and 1980s—from the prison’s archive. \u003c/p>\n\u003cp>Out of this material chaos, Poor and her students gained a profound understanding of photography as a tool for personal development, and learned how it both serves and undermines rigid institutional narratives. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison\u003c/i>\u003c/a>, on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, shares the fruit of that knowledge with the public.\u003c/p>\n\u003cfigure id=\"attachment_13865615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg\" alt=\"Installation view of 'The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison' at BAMPFA.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/NPoor_BAMPFA_020_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ at BAMPFA. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poor volunteers at San Quentin through the \u003ca href=\"https://prisonuniversityproject.org/\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a nonprofit organization that offers higher education opportunities to incarcerated men. The class she teaches works with students to develop visual analysis skills, a goal achieved through assignments she calls “mapping exercises.” \u003c/p>\n\u003cp>Poor’s use of the word “mapping” to describe this work is a minor yet compelling detail. Maps represent knowledge; they make it clear who produces and controls the information within them, and for whom that information is intended. The opportunity to work with images created within the prison industrial complex, but without the supervision of that authority, meant that Poor’s students could freely interrogate the official narratives the images convey.\u003c/p>\n\u003cfigure id=\"attachment_13865139\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg\" alt=\"Nigel Poor and Frankie Smith, 'Mapping Joel Sternfeld, side A,' 2011/12. Inkjet print, with ink notations.\" width=\"2048\" height=\"1315\" class=\"size-full wp-image-13865139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/07_SQP_Press_Smith_Mapping-Joel-Sternfeld-Side-A-1920x1232.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Frankie Smith, ‘Mapping Joel Sternfeld, side A,’ 2011/12. Inkjet print, with ink notations. \u003ccite>(Courtesy Nigel Poor, with thanks to the Prison University Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one assignment, students deconstructed a range of photographs made by notable photographers such as Joel Sternfeld, analyzing what they saw “like a crime scene to be studied, written on, and mapped to reveal its undisclosed story,” Poor relates in a gallery text panel. On the back of each double-sided image, students composed personal responses to the scenes. Six of these minimally framed objects hang in a circle at the center of the BAMPFA exhibition. Reading them is to witness basic visual analysis transform into absorbing and unexpected narrative arcs that begin and end on the same page.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Students next applied their burgeoning analytical skills to images produced from Poor’s prison archive cache. After printing the photographs and organizing them into rough categories, Poor again asked her class to write down what they saw. As visitors see in framed images hung on one of the gallery’s long walls, scrupulous notes attest that no detail was insignificant. Unlike earlier mapping exercises, Poor’s students were now examining images captured on their turf.\u003c/p>\n\u003cfigure id=\"attachment_13865141\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg\" alt=\"Unknown, 'Mother’s Day 5-9-76,' from the San Quentin State Prison Archive, 1976, printed 2018.\" width=\"2048\" height=\"1644\" class=\"size-full wp-image-13865141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-800x642.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1020x819.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1200x963.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13_SQP_Press_Mother_s-Day-5-9-76-1920x1541.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Unknown, ‘Mother’s Day 5-9-76,’ from the San Quentin State Prison Archive, 1976, printed 2018. \u003ccite>(Courtesy Nigel Poor and the San Quentin State Prison Museum, with thanks to Warden Ron Davis and Lieutenant Sam Robinson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students saw familiar spaces—inmate cells, administrative offices and public areas—being used by the men who came before them. The scenes can be blissfully ordinary or sobering: a father seated on the grass with his baby, a cell tossed for contraband items.\u003c/p>\n\u003cp>On the opposite gallery wall, \u003ci>The San Quentin Project\u003c/i> presents many of the same images unembellished, without commentary. A telling juxtaposition—starkly visualized by an image of a CO (correctional officer) holding up a knife confiscated after a stabbing—implicates photography as it supports specific, authoritative narratives. In one image, block text at the bottom reads simply “stabbing in gym.” \u003c/p>\n\u003cfigure id=\"attachment_13865138\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg\" alt=\"Nigel Poor and Shadeed Wallace-Stepter, 'Weeks Stabbing in the Gym 9-24-63,' 2013. \" width=\"868\" height=\"1350\" class=\"size-full wp-image-13865138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63.jpg 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-768x1194.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06_SQP_Press_Wallace-Stepter_Weeks-Stabbing-in-the-Gym-9-24-63-772x1200.jpg 772w\" sizes=\"(max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor and Shadeed Wallace-Stepter, ‘Weeks Stabbing in the Gym 9-24-63,’ 2013. \u003ccite>(Courtesy Nigel Poor, with thanks to Warden Ron Davis and Lieutenant Sam Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the companion image, Shadeed Wallace-Stepter notes the officer’s inscrutable expression, writing, “Doesn’t look like he’s been affected by the incident at all. Makes me wonder if he’s always been like this or if the job is responsible.” Wallace-Stepter recognizes the officer’s humanity, his relatability, in an institutional system that has a tendency to dehumanize all caught within it.\u003c/p>\n\u003cp>\u003ci>The San Quentin Project: Nigel Poor and the Men of San Quentin\u003c/i> was produced by Poor and former SFMOMA curator Lisa J. Sutcliffe for the Milwaukee Museum of Art. Since its lauded debut in late 2018, conversations about the links between \u003ca href=\"https://eji.org/videos/slavery-to-mass-incarceration\" target=\"_blank\" rel=\"noopener\">slavery and mass incarceration\u003c/a> and pushes for prison sentencing reform have helped shape a difficult and long-overdue critical dialogue. By hosting this important project a mere 14.5 miles from San Quentin State Prison, BAMPFA brings those ideas—through images—home, making them all the more immediate for Bay Area residents.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The San Quentin Project: Nigel Poor and the Men of San Quentin State Prison’ is on view at Berkeley Art Museum Pacific Film Archive through Nov. 17, 2019. \u003ca href=\"https://bampfa.org/program/san-quentin-project-nigel-poor-and-men-san-quentin-state-prison\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>V. Vale, the tireless counterculture chronicler behind \u003ca href=\"http://www.researchpubs.com/\">RE/Search Publications\u003c/a>, is a fount of knowledge and opinion on creative transgressors spanning a vast range of media and time. \u003c/p>\n\u003cp>As the editor of inky tabloids \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, Vale documented the inception of San Francisco punk and its splinters into industrial, noise and mail art subcultures, always minding the underground’s literary progenitors. More recently his conversations with figures such as Bruce Conner and Lydia Lunch have fueled a question-and-answer pocketbook series. \u003c/p>\n\u003cp>Today, RE/Search stands as one of the longest-running independent publishers of its kind, and Vale and his merchandise remain a welcome fixture of local book fairs, zine fests and art openings. \u003c/p>\n\u003cp>Yet little of Vale’s photography from this journey, a body of work estimated at more than 100,000 images, has been seen by the public until recently. \u003c/p>\n\u003cp>Last year, a small selection of his prints exhibited in \u003cem>Terminal Punk\u003c/em>, a group of show at Classic Cars West in Oakland. Now, more than 75 color photographs by Vale—including shots of William Burroughs, Kathy Acker and Survival Research Laboratories—appear in his latest RE/Search-published title, \u003cem>Underground Living\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sunday, Sept. 8, 5pm, Vale marks the release of \u003cem>Underground Living\u003c/em> at City Lights Booksellers (where he was working when he founded Search & Destroy in 1977) with a conversation with science fiction author Rudy Rucker, who wrote the book’s introduction. Rucker asks in the foreword, “How did this unassuming man enter into so many strange subcultures?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Vale himself writes in the book, “In these photos, taken all over the world (ahem, as I knew it), is perhaps a transient glimpse of what it’s like to live an ‘underground’ life. Which calls to mind that disturbing thought by J.G. Ballard: ‘If it wasn’t recorded, it didn’t happen.’” —\u003cem>Sam Lefebvre\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>V. Vale, the tireless counterculture chronicler behind \u003ca href=\"http://www.researchpubs.com/\">RE/Search Publications\u003c/a>, is a fount of knowledge and opinion on creative transgressors spanning a vast range of media and time. \u003c/p>\n\u003cp>As the editor of inky tabloids \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, Vale documented the inception of San Francisco punk and its splinters into industrial, noise and mail art subcultures, always minding the underground’s literary progenitors. More recently his conversations with figures such as Bruce Conner and Lydia Lunch have fueled a question-and-answer pocketbook series. \u003c/p>\n\u003cp>Today, RE/Search stands as one of the longest-running independent publishers of its kind, and Vale and his merchandise remain a welcome fixture of local book fairs, zine fests and art openings. \u003c/p>\n\u003cp>Yet little of Vale’s photography from this journey, a body of work estimated at more than 100,000 images, has been seen by the public until recently. \u003c/p>\n\u003cp>Last year, a small selection of his prints exhibited in \u003cem>Terminal Punk\u003c/em>, a group of show at Classic Cars West in Oakland. Now, more than 75 color photographs by Vale—including shots of William Burroughs, Kathy Acker and Survival Research Laboratories—appear in his latest RE/Search-published title, \u003cem>Underground Living\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Sunday, Sept. 8, 5pm, Vale marks the release of \u003cem>Underground Living\u003c/em> at City Lights Booksellers (where he was working when he founded Search & Destroy in 1977) with a conversation with science fiction author Rudy Rucker, who wrote the book’s introduction. Rucker asks in the foreword, “How did this unassuming man enter into so many strange subcultures?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Vale himself writes in the book, “In these photos, taken all over the world (ahem, as I knew it), is perhaps a transient glimpse of what it’s like to live an ‘underground’ life. Which calls to mind that disturbing thought by J.G. Ballard: ‘If it wasn’t recorded, it didn’t happen.’” —\u003cem>Sam Lefebvre\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color",
"headTitle": "Sara VanDerBeek’s ‘Roman Women’ Disrupt the Past in Living Color | KQED",
"content": "\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Color has long been contentious—even Plato and Aristotle disagreed as to whether it helped or hindered the aim of art, which was always the imitation of nature. Color was decorative, even false, but gave painting and sculpture life, and truth. The Greeks used the word \u003cem>pharmakon\u003c/em> for paint and artificial color; it also meant drug (both poison and cure), remedy, medicine, charm and spell. Color has often been associated with the marginal, the threatening—that which is not in charge—so also: the foreign, the feminine. Its definitions have included “to hide,” “to conceal,” “a pretense”; it still means to embellish, at the very least to influence. \u003c/p>\n\u003cp>Artist Sara VanDerBeek knows that ancient Greek and Roman marble statues were originally many-colored, vibrantly painted, and that, when antique statuary was rediscovered during the Renaissance, the brilliance had largely worn away. Figures were prized above all for their (colorless) forms. Better yet, she knows that the contemporary impact of such a revelation has less to do with the reapplication of color to the statues—as some art historians are now undertaking via plaster models or projection—than with revealing the decidedly fragmentary nature of the past and its hold on us.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Roman Women\u003c/a>\u003c/em>, on view at San Francisco’s Altman Siegel gallery through Aug. 30, VanDerBeek’s saturated, synthetically colored photographic prints of Roman statues both acknowledge and render foolish our heavily conditioned assumptions about the place and virtue of unadorned white marble—and by extension the chauvinist ideals of Western empire. \u003c/p>\n\u003cp>Her vivid, all-over color images are further manipulated: cropped, duplicated, printed on flat metal plates and wrapped around three-dimensional objects. As such, they accentuate how simultaneously incomplete and pervasive our own understanding of the past can be, and challenge the legacies tied to art and to bodies, particularly women’s, inherited images so often carry.\u003c/p>\n\u003cfigure id=\"attachment_13863253\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg\" alt=\"Installation view of 'Roman Women.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/06.SV_RW-XXI.XII_install_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Roman Women.’ \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Roman Woman XI\u003c/em>, at the gallery’s entrance, a bright and piercing lapis offsets a crouching, life-size woman entirely cast in deep and ethereal violet. She’s missing a portion of her head and both arms; she casts a shadow on her own thighs and gentle belly rolls. A thin purple strip along the left edge of the print hints at the meticulous coloring process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like all the 2D works, it is a dye sublimation print on aluminum, meaning the ink and image are essentially fused into the metal, making the print color-fast and UV-resistant. It’s mounted on a thin plate of colored plexiglass and frameless, hovering slightly off the gallery wall.\u003c/p>\n\u003cp>VanDerBeek ups her transformative techniques in \u003cem>Roman Woman XVIII\u003c/em>. She’s big (48 by 66 inches), shown from the shoulders up. On a pale peach background, her skin is the color of glowing silver gelatin, her face awash in warm magenta. She’s a little blown out, contrast-wise, so that a highlight erases, a lowlight blotches. VanDerBeek shoots with film before scanning the negatives for digital editing, and the texture of the emulsion is often present in the print.\u003c/p>\n\u003cp>Her images work best by building depth of color, not depth of space. The layers of color are inextricable yet beg to be plied apart—you feel their additive weight without quite comprehending which is laid over what. You see the composite colors, the deep indigo, the magenta, like colored gels along the edges, and witness how at one stage VanDerBeek turned this woman blue, gray or purple.\u003c/p>\n\u003cp>While photographing the statues in collections and museums across Europe and the United States, VanDerBeek used only existing light, shooting from every angle. In an \u003ca href=\"https://aperture.org/blog/interview-with-sara-vanderbeek/\" rel=\"noopener\" target=\"_blank\">\u003cem>Aperture\u003c/em> interview\u003c/a>, she describes being mesmerized. \u003c/p>\n\u003cp>Her now-extensive image archive of classical and neoclassical figures began with a residency at the Fondazione Memmo in Rome in 2012. Her final prints, of inky blue torsos and enlarged silhouettes, have been shown in New York and, earlier this summer, in Minneapolis. The distortions of color and perspective are greater, however, in the work at Altman Siegel.\u003c/p>\n\u003cfigure id=\"attachment_13863252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg\" alt=\"Sara VanDerBeek, 'Roman Woman IX' and 'Roman Woman X,' 2019.\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13863252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/04.SV_RW-X.IX_install_floor_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sara VanDerBeek, ‘Roman Woman IX’ and ‘Roman Woman X,’ 2019. \u003ccite>(Courtesy of the artist and Altman Siegel, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two six-foot-tall prints feature the same woman, partially effaced in the posterization, the images identical but for their inverted colors—silver and crepuscular, cloudy purple. There’s another bust in quadruplicate, and in the next room, a face cut off by the angled slant of the print. Obfuscation and repetition highlight the paucity of certainties we possess about the way our readings of images and objects come to be, about the values we receive yet treat as full and absolute. \u003c/p>\n\u003cp>VanDerBeek wraps prints around a wooden pillar and foam rollers, rendering those women visible only fractionally. She turns images into objects and objects into images, a feedback loop of references and referents, of symbols and meanings. \u003c/p>\n\u003cp>I’ve never seen an ancient statue in all its polychromatic glory (I missed \u003cem>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" rel=\"noopener\" target=\"_blank\">Gods in Color\u003c/a>\u003c/em> at the Legion of Honor in 2017), but, by looking at \u003cem>Roman Women\u003c/em>, it’s possible to understand what it is we’re often missing in our encounters with antiquity, and other eras. \u003c/p>\n\u003cp>“This is the \u003cem>pharmakon\u003c/em>,” writes poet Lisa Roberston in her essay, “How to Colour,” “an indiscrete threshold where our bodies exchange information with an environment.” VanDerBeek’s Roman women are not just in color but in conversation with their place in the cultural imagination and historical reality; they are materially critical of their inherited significations. \u003c/p>\n\u003cp>As a photographer interested in the properties of photography—its production, reproduction and circulation—more so than its mimetic knack, VanDerBeek reminds us that the scale of space as well as time is ever fungible, that context is crucial, that viewpoint is always limited. Might an imitation of life look different than we once thought? As we reconsider the ways in which we see ourselves, we must assert that there are no givens, not anymore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roman Women’ is on view at Altman Siegel in San Francisco through Aug. 30. \u003ca href=\"https://altmansiegel.com/exhibitions-l/current/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "April Dawn Alison’s Private Polaroids Reveal an Artist Creating Herself",
"headTitle": "April Dawn Alison’s Private Polaroids Reveal an Artist Creating Herself | KQED",
"content": "\u003cp>In a one-room show on the San Francisco Museum of Art’s third floor, a “new to the collection” exhibition of framed Polaroids is actually new to just about everyone, a treasure trove of secret photographs that were almost lost to history.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">April Dawn Alison\u003c/a>\u003c/i>, curated by Erin O’Toole, presents a constellation of images on dark painted walls, images discovered after the death of an Oakland commercial photographer known to friends, family and neighbors as Alan Schaefer. Indoors, seemingly alone, Schaefer became someone else: April Dawn Alison, a feminine alter ego who, over the course of 30 years, photographed herself in playful poses and bondage scenarios. As contemplative and exuberant. Dressed up and stripped down.\u003c/p>\n\u003cfigure id=\"attachment_13862466\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862466\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naming—and gendering—the artist responsible for the works in \u003ci>April Dawn Alison\u003c/i> requires careful consideration. O’Toole opts for “she,” writing “the Polaroids are of April Dawn, by April Dawn.” In the \u003ca href=\"https://mackbooks.co.uk/collections/frontpage/products/april-dawn-alison-br-erin-o-toole-ed\" target=\"_blank\" rel=\"noopener noreferrer\">accompanying catalog\u003c/a> from London publisher Mack, Hilton Als’ essay employs a more fluid use of both pronouns: “April was a maker and so was the guy who made April; these pictures are a record of a double consciousness, the he who wants to be a she and the she who is a model and photographer.” Zackary Drucker’s writing ties the work to a long lineage of trans artists and performers, using “she” throughout.\u003c/p>\n\u003cp>An equal amount of consideration went into the decision of whether or not to present these images publicly at all. Schaefer passed away at age 67 in 2008. O’Toole edited \u003ci>April Dawn Alison\u003c/i> down from 9,200 Polaroids, a collection that remained remarkably intact while an estate liquidator sold off the rest of the artist’s belongings piecemeal. San Francisco painter Andrew Masullo purchased (or better put, rescued) the collection from the liquidator, gifting it to SFMOMA in 2017.\u003c/p>\n\u003cp>O’Toole writes about discussing issues of privacy and intent with the artist’s friends and family, concluding: “I have come to believe that the deep humanity, emotional impact, and visual sophistication of these photographs demands that they be shared.” It’s rare to see a curatorial statement dip into first person, let alone acknowledge any moral quandaries the organizer might have experienced in the process of putting together a show.\u003c/p>\n\u003cfigure id=\"attachment_13862465\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-1020x337.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of \u003ci>April Dawn Alison\u003c/i>, this honesty and openness is fitting. Alison shot the intimate Polaroids in the tight quarters of a living space that appears increasingly filled with photography equipment, framed images, fashion ads and stacked storage boxes as time progresses. The images are incredibly vulnerable, even as she makes a silly face for the camera, widening her eyes in mock surprise or sticking out her tongue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alison is a shape-shifter. With a variety of wigs, makeup, jewelry and outfits, she tries out coquettish looks (French maid costume), demure business wear (high-necked white shirt under a dark blazer) and out-there getups (teal velour-looking leotard, pink skirt and three garters). Despite these variations in personae, the accumulated images seem to capture Alison—in her willingness to mug for the camera, splay her legs, hunch into a frame and every so often, smile a particularly zany smile.\u003c/p>\n\u003cp>Few knew about Alison. O’Toole writes that family members were aware Schaefer sometimes dressed in women’s clothes, and rumors circulated through the neighbors to that effect. But the true audience of Alison’s “encyclopedia of selves,” as Drucker calls the collection of Polaroids, was Alison herself.\u003c/p>\n\u003cfigure id=\"attachment_13862462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-1020x1018.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In numerous shots included in the exhibition, a sequence of images shows Alison accumulating the Polaroids taken during a sitting, holding the photographs in her hands or lining them up on a shelf behind her. Sometimes, she trades eye contact with the camera for eye contact with herself—posing while peering at her own likeness in Polaroid form.\u003c/p>\n\u003cp>Certain things can be deduced about Alison from these images: she took great care crafting her appearance; she had a sense of humor; she was proud of her ability to construct images (both as a private practice and as a commercial photographer).\u003c/p>\n\u003cp>But there are so many more questions than answers. Did anyone know Alison as Alison? Was this the only space where she could be this version of herself? Did anyone help her get into some of the more complicated BDSM poses she staged? Was this photographic practice a secret she never intended to share—and should that affect how (and if) we look at these images now?\u003c/p>\n\u003cfigure id=\"attachment_13862563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-1020x1012.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially difficult, in 2019, to refrain from assigning to Alison contemporary understandings of gender expression and fluidity. We will likely never have answers to the above questions; we can only acknowledge how these images make us feel now, and honor Alison’s contribution to visual culture by welcoming such expressions of self moving forward.\u003c/p>\n\u003cp>When I visited SFMOMA shortly after the exhibition’s opening, a group of young people were taking turns photographing each other in front of one of the walls, carefully arranging themselves in poses pulled (as many of Alison’s were) from the vocabulary of fashion ads and celebrity portraiture.\u003c/p>\n\u003cp>The space between Alison’s private world and this public display of glamorous, defiant identity collapsed, the former providing the backdrop for the latter. And in that moment, Alison was simply a photographer ahead of her time, finally, posthumously, finding her adoring audience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘April Dawn Alison’ is on view at the San Francisco Museum of Modern Art through Dec. 1. \u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a one-room show on the San Francisco Museum of Art’s third floor, a “new to the collection” exhibition of framed Polaroids is actually new to just about everyone, a treasure trove of secret photographs that were almost lost to history.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">April Dawn Alison\u003c/a>\u003c/i>, curated by Erin O’Toole, presents a constellation of images on dark painted walls, images discovered after the death of an Oakland commercial photographer known to friends, family and neighbors as Alan Schaefer. Indoors, seemingly alone, Schaefer became someone else: April Dawn Alison, a feminine alter ego who, over the course of 30 years, photographed herself in playful poses and bondage scenarios. As contemplative and exuberant. Dressed up and stripped down.\u003c/p>\n\u003cfigure id=\"attachment_13862466\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862466\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/08_April-Dawn-Alison_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naming—and gendering—the artist responsible for the works in \u003ci>April Dawn Alison\u003c/i> requires careful consideration. O’Toole opts for “she,” writing “the Polaroids are of April Dawn, by April Dawn.” In the \u003ca href=\"https://mackbooks.co.uk/collections/frontpage/products/april-dawn-alison-br-erin-o-toole-ed\" target=\"_blank\" rel=\"noopener noreferrer\">accompanying catalog\u003c/a> from London publisher Mack, Hilton Als’ essay employs a more fluid use of both pronouns: “April was a maker and so was the guy who made April; these pictures are a record of a double consciousness, the he who wants to be a she and the she who is a model and photographer.” Zackary Drucker’s writing ties the work to a long lineage of trans artists and performers, using “she” throughout.\u003c/p>\n\u003cp>An equal amount of consideration went into the decision of whether or not to present these images publicly at all. Schaefer passed away at age 67 in 2008. O’Toole edited \u003ci>April Dawn Alison\u003c/i> down from 9,200 Polaroids, a collection that remained remarkably intact while an estate liquidator sold off the rest of the artist’s belongings piecemeal. San Francisco painter Andrew Masullo purchased (or better put, rescued) the collection from the liquidator, gifting it to SFMOMA in 2017.\u003c/p>\n\u003cp>O’Toole writes about discussing issues of privacy and intent with the artist’s friends and family, concluding: “I have come to believe that the deep humanity, emotional impact, and visual sophistication of these photographs demands that they be shared.” It’s rare to see a curatorial statement dip into first person, let alone acknowledge any moral quandaries the organizer might have experienced in the process of putting together a show.\u003c/p>\n\u003cfigure id=\"attachment_13862465\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07_April-Dawn-Alison_1200-1020x337.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of \u003ci>April Dawn Alison\u003c/i>, this honesty and openness is fitting. Alison shot the intimate Polaroids in the tight quarters of a living space that appears increasingly filled with photography equipment, framed images, fashion ads and stacked storage boxes as time progresses. The images are incredibly vulnerable, even as she makes a silly face for the camera, widening her eyes in mock surprise or sticking out her tongue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alison is a shape-shifter. With a variety of wigs, makeup, jewelry and outfits, she tries out coquettish looks (French maid costume), demure business wear (high-necked white shirt under a dark blazer) and out-there getups (teal velour-looking leotard, pink skirt and three garters). Despite these variations in personae, the accumulated images seem to capture Alison—in her willingness to mug for the camera, splay her legs, hunch into a frame and every so often, smile a particularly zany smile.\u003c/p>\n\u003cp>Few knew about Alison. O’Toole writes that family members were aware Schaefer sometimes dressed in women’s clothes, and rumors circulated through the neighbors to that effect. But the true audience of Alison’s “encyclopedia of selves,” as Drucker calls the collection of Polaroids, was Alison herself.\u003c/p>\n\u003cfigure id=\"attachment_13862462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/01_April-Dawn-Alison_1200-1020x1018.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In numerous shots included in the exhibition, a sequence of images shows Alison accumulating the Polaroids taken during a sitting, holding the photographs in her hands or lining them up on a shelf behind her. Sometimes, she trades eye contact with the camera for eye contact with herself—posing while peering at her own likeness in Polaroid form.\u003c/p>\n\u003cp>Certain things can be deduced about Alison from these images: she took great care crafting her appearance; she had a sense of humor; she was proud of her ability to construct images (both as a private practice and as a commercial photographer).\u003c/p>\n\u003cp>But there are so many more questions than answers. Did anyone know Alison as Alison? Was this the only space where she could be this version of herself? Did anyone help her get into some of the more complicated BDSM poses she staged? Was this photographic practice a secret she never intended to share—and should that affect how (and if) we look at these images now?\u003c/p>\n\u003cfigure id=\"attachment_13862563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg\" alt=\"April Dawn Alison, 'Untitled,' n.d.\" width=\"1200\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/04c_April-Dawn-Alison_1200-1020x1012.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">April Dawn Alison, ‘Untitled,’ n.d. \u003ccite>(San Francisco Museum of Modern Art, gift of Andrew Masullo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially difficult, in 2019, to refrain from assigning to Alison contemporary understandings of gender expression and fluidity. We will likely never have answers to the above questions; we can only acknowledge how these images make us feel now, and honor Alison’s contribution to visual culture by welcoming such expressions of self moving forward.\u003c/p>\n\u003cp>When I visited SFMOMA shortly after the exhibition’s opening, a group of young people were taking turns photographing each other in front of one of the walls, carefully arranging themselves in poses pulled (as many of Alison’s were) from the vocabulary of fashion ads and celebrity portraiture.\u003c/p>\n\u003cp>The space between Alison’s private world and this public display of glamorous, defiant identity collapsed, the former providing the backdrop for the latter. And in that moment, Alison was simply a photographer ahead of her time, finally, posthumously, finding her adoring audience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘April Dawn Alison’ is on view at the San Francisco Museum of Modern Art through Dec. 1. \u003ca href=\"https://www.sfmoma.org/exhibition/april-dawn-alison/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Importance of Recreation in Jarrel Phillips' 'How We Play' Exhibition",
"headTitle": "The Importance of Recreation in Jarrel Phillips’ ‘How We Play’ Exhibition | KQED",
"content": "\u003cp>Jarrel Phillips is a unique character. He’s from San Francisco’s Fillmore area, raised out there in the ’90s and early 2000s, at the tail end of when Fillmore was “\u003cem>Fillmoe\u003c/em>.” That’s where he soaked up the culture, and learned about the performing arts and the importance of storytelling. Now he works to give it back.\u003c/p>\n\u003cp>Photos from Phillips’ latest exhibition, \u003ca href=\"https://sfpl.org/index.php?pg=1037839701\" target=\"_blank\" rel=\"noopener\">\u003cem>How We Play\u003c/em>\u003c/a>, have been on the walls at the main branch of the San Francisco Public Library since April of this year. The images show people being active, playing, dancing and expressing themselves in places as far as Ethiopia and Tanzania, as well in Phillips’ community in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13861976\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/123_1-copy-2-800x533.jpg\" alt=\"A kid clowning\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A kid clowning \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips, who’s also a capoeira instructor and cultural archivist currently working on his first book, told me that the goal of the exhibition is to show the importance of recreational activity. “It’s not just play, in the sense of kids playing; it’s play through performing arts and a sociological perspective,” said Phillips.\u003cbr>\nThe underlying message of the exhibition is explored through the role of the “the trickster,” according to Phillips. “Brer Rabbit, Anansi the Spider, and the Malandro of Brazil are all examples of characters who get what they want, not by force, but by trickery and wit.”\u003cbr>\n“Our power lies in our ability to create and re-create ourselves as much as we deem necessary for all of our pursuits,” says Phillips. “Like the trickster, we are not one-dimensional characters. The trickster wears many masks and we can play many roles.\u003cbr>\nPhillips told me that it’s important to acknowledge the past in his present work, as he doesn’t take lightly the changes that have and continue to happen to his hometown, especially in regards to the black community and the performing arts scene.\u003c/p>\n\u003cfigure id=\"attachment_13861975\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/123_1-copy-800x533.jpg\" alt=\"Dancers in East Africa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in East Africa. Photo by Jarrel Phillips. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A closing ceremony for ‘How We Play’ is held Aug. 3, 2019, from 1pm–3pm at the San Francisco Public Library’s Jewett Gallery. \u003ca href=\"https://sfpl.org/index.php?pg=1037823301\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jarrel Phillips is a unique character. He’s from San Francisco’s Fillmore area, raised out there in the ’90s and early 2000s, at the tail end of when Fillmore was “\u003cem>Fillmoe\u003c/em>.” That’s where he soaked up the culture, and learned about the performing arts and the importance of storytelling. Now he works to give it back.\u003c/p>\n\u003cp>Photos from Phillips’ latest exhibition, \u003ca href=\"https://sfpl.org/index.php?pg=1037839701\" target=\"_blank\" rel=\"noopener\">\u003cem>How We Play\u003c/em>\u003c/a>, have been on the walls at the main branch of the San Francisco Public Library since April of this year. The images show people being active, playing, dancing and expressing themselves in places as far as Ethiopia and Tanzania, as well in Phillips’ community in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13861976\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/123_1-copy-2-800x533.jpg\" alt=\"A kid clowning\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A kid clowning \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips, who’s also a capoeira instructor and cultural archivist currently working on his first book, told me that the goal of the exhibition is to show the importance of recreational activity. “It’s not just play, in the sense of kids playing; it’s play through performing arts and a sociological perspective,” said Phillips.\u003cbr>\nThe underlying message of the exhibition is explored through the role of the “the trickster,” according to Phillips. “Brer Rabbit, Anansi the Spider, and the Malandro of Brazil are all examples of characters who get what they want, not by force, but by trickery and wit.”\u003cbr>\n“Our power lies in our ability to create and re-create ourselves as much as we deem necessary for all of our pursuits,” says Phillips. “Like the trickster, we are not one-dimensional characters. The trickster wears many masks and we can play many roles.\u003cbr>\nPhillips told me that it’s important to acknowledge the past in his present work, as he doesn’t take lightly the changes that have and continue to happen to his hometown, especially in regards to the black community and the performing arts scene.\u003c/p>\n\u003cfigure id=\"attachment_13861975\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/123_1-copy-800x533.jpg\" alt=\"Dancers in East Africa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/123_1-copy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in East Africa. Photo by Jarrel Phillips. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A closing ceremony for ‘How We Play’ is held Aug. 3, 2019, from 1pm–3pm at the San Francisco Public Library’s Jewett Gallery. \u003ca href=\"https://sfpl.org/index.php?pg=1037823301\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Depending on who you ask, the name “Lee Friedlander” means different things. \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">For some\u003c/a> , he’s the photographer behind dozens of \u003ca href=\"http://www.birkajazz.com/archive/atlantic.htm\" rel=\"noopener\" target=\"_blank\">iconic jazz album covers\u003c/a> put out by Atlantic Records in the 50s and 60s. To me, he’s the inventive and tireless chronicler of everyday America, or as San Francisco’s Fraenkel Gallery calls it, a photographer of “the American social landscape.”\u003c/p>\n\u003cp>And what could be more American, more everyday, or more a part of the social landscape than signs? Fraenkel’s factually titled \u003ci>SIGNS\u003c/i>, opening July 11, gathers five decades of Friedlander’s obsession with storefront windows, roadside billboards, hand-lettered ads and off-kilter notices. (Look closely and you’ll spot Friedlander in some of these images, many made while he crisscrossed the United States by car—reflected in a shop’s glass or in his rear-view mirror.) \u003c/p>\n\u003cp>\u003ci>SIGNS\u003c/i>’ temporal span produces a journey of its own. Crude signs of the 60s give way to scenes like 1974 New York City, where a giant Coca-Cola sign rises above a chaotic framework of ticket stands. As America grows up, its signs get more sleeker, bigger, less general and more brand-specific.\u003c/p>\n\u003cp>For those who want to spend even more time with Friedlander’s images than a casual gallery visit allows, the exhibition also marks the release of \u003ca href=\"https://fraenkelgallery.com/publications/lee-friedlander-signs\" rel=\"noopener\" target=\"_blank\">an accompanying book\u003c/a> published by Fraenkel Gallery, a collection of 144 sign-related photographs. Friedlander himself, now 84, will be present for a book signing on Saturday, July 13, 1–3pm. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on who you ask, the name “Lee Friedlander” means different things. \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">For some\u003c/a> , he’s the photographer behind dozens of \u003ca href=\"http://www.birkajazz.com/archive/atlantic.htm\" rel=\"noopener\" target=\"_blank\">iconic jazz album covers\u003c/a> put out by Atlantic Records in the 50s and 60s. To me, he’s the inventive and tireless chronicler of everyday America, or as San Francisco’s Fraenkel Gallery calls it, a photographer of “the American social landscape.”\u003c/p>\n\u003cp>And what could be more American, more everyday, or more a part of the social landscape than signs? Fraenkel’s factually titled \u003ci>SIGNS\u003c/i>, opening July 11, gathers five decades of Friedlander’s obsession with storefront windows, roadside billboards, hand-lettered ads and off-kilter notices. (Look closely and you’ll spot Friedlander in some of these images, many made while he crisscrossed the United States by car—reflected in a shop’s glass or in his rear-view mirror.) \u003c/p>\n\u003cp>\u003ci>SIGNS\u003c/i>’ temporal span produces a journey of its own. Crude signs of the 60s give way to scenes like 1974 New York City, where a giant Coca-Cola sign rises above a chaotic framework of ticket stands. As America grows up, its signs get more sleeker, bigger, less general and more brand-specific.\u003c/p>\n\u003cp>For those who want to spend even more time with Friedlander’s images than a casual gallery visit allows, the exhibition also marks the release of \u003ca href=\"https://fraenkelgallery.com/publications/lee-friedlander-signs\" rel=\"noopener\" target=\"_blank\">an accompanying book\u003c/a> published by Fraenkel Gallery, a collection of 144 sign-related photographs. Friedlander himself, now 84, will be present for a book signing on Saturday, July 13, 1–3pm. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In most spaces intended for leisure or entertainment, it’s the infrastructure that decrees how we arrange our bodies. A theater has seats. A stadium has bleachers. An amusement park line has stanchions. But a gallery only has walls—and a hard bench if you’re lucky. \u003c/p>\n\u003cp>When we walk into a space intended for viewing art, it’s not uncommon to become crudely aware of your body and its surroundings. This may be why we often feel so self-conscious within art spaces; the gallery instructs us only to recognize our own existence. \u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://casemorekirkeby.com/exhibition/handless-operative/\" rel=\"noopener\" target=\"_blank\">Handless Operative\u003c/a>\u003c/em>, the current exhibition at San Francisco’s Casemore Kirkeby, curator Petra Bibeau organizes a group show of work by 12 contemporary photographers around the idea of the photograph as the product of a “handless operative.” This manifests as a show of works that can be categorized as having either hidden, exposed or liberated means of production. \u003c/p>\n\u003cp>The photographs included in \u003cem>Handless Operative\u003c/em> rely on the semiotic limbo between what is represented and the act of representation. This limbo brings the viewer’s attention into what Bibeau describes as an expanded perceptual realm, a space that is physical and visceral. Bibeau expresses this sensation as “the distance is the space where the viewer may accept what they thought they witnessed as ‘close enough’ or, one may question further. That space is where production comes into question as a measure of reality: ‘I assume it is this, but I know it can’t be this.’” \u003c/p>\n\u003cfigure id=\"attachment_13857778\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200.jpg\" alt=\"Sean McFarland, 'Falls,' 2017.\" width=\"1200\" height=\"960\" class=\"size-full wp-image-13857778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-1020x816.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sean McFarland, ‘Falls,’ 2017. \u003ccite>(Courtesy of the artist and Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we see when we look closely at the works in Casemore Kirkeby is not just the conceit of each artist’s vision, but the invisible gesture organizing all the works in \u003cem>Handless Operative\u003c/em>—Bibeau’s curatorial index. When asked if she thinks curatorial work entails hidden, exposed or liberated production, she replies “all of the above.” Bibeau believes a group exhibition cultivates a new identity for an artwork that provides freedom from previous expectations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Handless Operative\u003c/em>’s categories of production, \u003ca href=\"http://sean-mcfarland.com/\" rel=\"noopener\" target=\"_blank\">Sean McFarland\u003c/a>’s photograph \u003cem>Falls\u003c/em> can be filed under “hidden production.” It’s representational, but only as long as it can deceive you. The black-and-white image appears at first glance bucolic; foliage frames a mountainscape and gives form to the term “picturesque.” But past the assumption of a landscape, there’s a disjuncture—as if a backdrop of a waterfall has been unfurled behind the trees with its horizontal creases intact, the product of a mis-exposed negative. Our misgivings about the image only become apparent once we withdraw from the presupposition of “I have seen this before.” \u003c/p>\n\u003cfigure id=\"attachment_13857777\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ManPlow_640.jpg\" alt=\"Lindsey White, 'ManPlow,' 2019.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13857777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ManPlow_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ManPlow_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘ManPlow,’ 2019. \u003ccite>(Courtesy of the artist and Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, it is \u003ca href=\"https://www.anoukkruithof.nl/\" rel=\"noopener\" target=\"_blank\">Anouk Kruithof\u003c/a>’s work \u003cem>Never Ending Pile of a Past\u003c/em> that best embodies the category of “liberated from production.” Ten thousand identical photographs of a pile of papers sit as takeaways in a neat stack in the center of the gallery. The artist is absent; it’s the viewer who activates the piece. By retrieving a print we make the piece more closely resemble the image in hand—and the space between what’s shown, what’s seen and what’s experienced conflates. \u003c/p>\n\u003cp>“I think photography can share versions of truths, it can act as a document but it is always and forever a stand-in for time as a marker,” Bibeau says. In the case of Kruithof, the depreciating nature of the stack of photographs mirrors the precarity of the image featured—a stack of papers itself. In the same fashion as Felix-Gonzalez Torres’s 1991 installation of a 175-pound pile of wrapped candies, \u003cem>\u003ca href=\"https://www.artic.edu/artworks/152961/untitled-portrait-of-ross-in-l-a\" rel=\"noopener\" target=\"_blank\">Untitled (Portrait of Ross in L.A.)\u003c/a>\u003c/em>, \u003cem>Never Ending Pile of a Past\u003c/em> shifts from object to experience, and therefore memory—the takeaway becomes a marker of a moment in time. \u003c/p>\n\u003cp>Meanwhile, two drastically different images expose their means of production. \u003ca href=\"https://www.lindseywhiteprojects.net/\" rel=\"noopener\" target=\"_blank\">Lindsey White\u003c/a>’s photograph \u003cem>ManPlow\u003c/em> alludes to the commercially intended function the found object (a snow pusher) might serve, while its embolden brand “ManPlow” aptly fills a role in contemporary feminist narrative. The breadth, momentum and necessity of that narrative extends far beyond the intended use of the object pictured. White’s image wryly suggests the utility in physically shoveling patriarchy out of the picture entirely. In her photograph, the object sits perfectly lit, like a product for sale, promising solutions. \u003c/p>\n\u003cp>The second image, \u003ca href=\"http://larrysultan.com/\" rel=\"noopener\" target=\"_blank\">Larry Sultan\u003c/a>’s \u003cem>Kanin Road\u003c/em>, features an off-kilter view of desire—a porn shoot in a suburban home. Southern California light filters through gauzy drapes, glinting across naked bodies. But the image is interrupted by the reach of a stylist adjusting the woman’s blindfold mid-intercourse while a production assistant watches ambivalently in the distance. The periphery of the scene diffuses its erotic potential to the point of humor. The intended function of the subject matter is confounded with the means by which that function is produced. \u003c/p>\n\u003cfigure id=\"attachment_13857787\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200.jpg\" alt=\"Installation view of 'Handless Operative,' with work by Larry Sultan (left), Jennifer Brandon (center) and Whitney Hubbs (right).\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13857787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Handless Operative,’ with work by Larry Sultan (left), Jennifer Brandon (center) and Whitney Hubbs (right). \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the theory of the “handless operative” both White and Sultan’s photographs intentionally circumvent the obvious. They offer images that stare right back at us, deadpan. \u003c/p>\n\u003cp>While the production process of each individual artwork in \u003cem>Handless Operative\u003c/em> directs how we view it, the artist’s influence still provides space for us to see a work on its own terms and through our own means of interpretation. But viewing artwork in a gallery setting, especially in a curated group show, is anything but incidental. The curatorial hand is ever-present in guiding our gaze. \u003c/p>\n\u003cp>In \u003cem>Handless Operative\u003c/em> Bibeau brings our attention to the mechanisms of the photographic medium: the way the camera’s mediation subverts or reinforces an image’s authority, and how the transparency of its production or lack thereof lead us to that conclusion. Turns out the handless operative isn’t so hands-free after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Handless Operative’ is on view at San Francisco’s Casemore Kirkeby through May 25. \u003ca href=\"https://casemorekirkeby.com/exhibition/handless-operative/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In most spaces intended for leisure or entertainment, it’s the infrastructure that decrees how we arrange our bodies. A theater has seats. A stadium has bleachers. An amusement park line has stanchions. But a gallery only has walls—and a hard bench if you’re lucky. \u003c/p>\n\u003cp>When we walk into a space intended for viewing art, it’s not uncommon to become crudely aware of your body and its surroundings. This may be why we often feel so self-conscious within art spaces; the gallery instructs us only to recognize our own existence. \u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://casemorekirkeby.com/exhibition/handless-operative/\" rel=\"noopener\" target=\"_blank\">Handless Operative\u003c/a>\u003c/em>, the current exhibition at San Francisco’s Casemore Kirkeby, curator Petra Bibeau organizes a group show of work by 12 contemporary photographers around the idea of the photograph as the product of a “handless operative.” This manifests as a show of works that can be categorized as having either hidden, exposed or liberated means of production. \u003c/p>\n\u003cp>The photographs included in \u003cem>Handless Operative\u003c/em> rely on the semiotic limbo between what is represented and the act of representation. This limbo brings the viewer’s attention into what Bibeau describes as an expanded perceptual realm, a space that is physical and visceral. Bibeau expresses this sensation as “the distance is the space where the viewer may accept what they thought they witnessed as ‘close enough’ or, one may question further. That space is where production comes into question as a measure of reality: ‘I assume it is this, but I know it can’t be this.’” \u003c/p>\n\u003cfigure id=\"attachment_13857778\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200.jpg\" alt=\"Sean McFarland, 'Falls,' 2017.\" width=\"1200\" height=\"960\" class=\"size-full wp-image-13857778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sean_McFarland_Falls_2017_Inkjet_Print_50x40_inches_1200-1020x816.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sean McFarland, ‘Falls,’ 2017. \u003ccite>(Courtesy of the artist and Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we see when we look closely at the works in Casemore Kirkeby is not just the conceit of each artist’s vision, but the invisible gesture organizing all the works in \u003cem>Handless Operative\u003c/em>—Bibeau’s curatorial index. When asked if she thinks curatorial work entails hidden, exposed or liberated production, she replies “all of the above.” Bibeau believes a group exhibition cultivates a new identity for an artwork that provides freedom from previous expectations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Handless Operative\u003c/em>’s categories of production, \u003ca href=\"http://sean-mcfarland.com/\" rel=\"noopener\" target=\"_blank\">Sean McFarland\u003c/a>’s photograph \u003cem>Falls\u003c/em> can be filed under “hidden production.” It’s representational, but only as long as it can deceive you. The black-and-white image appears at first glance bucolic; foliage frames a mountainscape and gives form to the term “picturesque.” But past the assumption of a landscape, there’s a disjuncture—as if a backdrop of a waterfall has been unfurled behind the trees with its horizontal creases intact, the product of a mis-exposed negative. Our misgivings about the image only become apparent once we withdraw from the presupposition of “I have seen this before.” \u003c/p>\n\u003cfigure id=\"attachment_13857777\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ManPlow_640.jpg\" alt=\"Lindsey White, 'ManPlow,' 2019.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13857777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ManPlow_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ManPlow_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘ManPlow,’ 2019. \u003ccite>(Courtesy of the artist and Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, it is \u003ca href=\"https://www.anoukkruithof.nl/\" rel=\"noopener\" target=\"_blank\">Anouk Kruithof\u003c/a>’s work \u003cem>Never Ending Pile of a Past\u003c/em> that best embodies the category of “liberated from production.” Ten thousand identical photographs of a pile of papers sit as takeaways in a neat stack in the center of the gallery. The artist is absent; it’s the viewer who activates the piece. By retrieving a print we make the piece more closely resemble the image in hand—and the space between what’s shown, what’s seen and what’s experienced conflates. \u003c/p>\n\u003cp>“I think photography can share versions of truths, it can act as a document but it is always and forever a stand-in for time as a marker,” Bibeau says. In the case of Kruithof, the depreciating nature of the stack of photographs mirrors the precarity of the image featured—a stack of papers itself. In the same fashion as Felix-Gonzalez Torres’s 1991 installation of a 175-pound pile of wrapped candies, \u003cem>\u003ca href=\"https://www.artic.edu/artworks/152961/untitled-portrait-of-ross-in-l-a\" rel=\"noopener\" target=\"_blank\">Untitled (Portrait of Ross in L.A.)\u003c/a>\u003c/em>, \u003cem>Never Ending Pile of a Past\u003c/em> shifts from object to experience, and therefore memory—the takeaway becomes a marker of a moment in time. \u003c/p>\n\u003cp>Meanwhile, two drastically different images expose their means of production. \u003ca href=\"https://www.lindseywhiteprojects.net/\" rel=\"noopener\" target=\"_blank\">Lindsey White\u003c/a>’s photograph \u003cem>ManPlow\u003c/em> alludes to the commercially intended function the found object (a snow pusher) might serve, while its embolden brand “ManPlow” aptly fills a role in contemporary feminist narrative. The breadth, momentum and necessity of that narrative extends far beyond the intended use of the object pictured. White’s image wryly suggests the utility in physically shoveling patriarchy out of the picture entirely. In her photograph, the object sits perfectly lit, like a product for sale, promising solutions. \u003c/p>\n\u003cp>The second image, \u003ca href=\"http://larrysultan.com/\" rel=\"noopener\" target=\"_blank\">Larry Sultan\u003c/a>’s \u003cem>Kanin Road\u003c/em>, features an off-kilter view of desire—a porn shoot in a suburban home. Southern California light filters through gauzy drapes, glinting across naked bodies. But the image is interrupted by the reach of a stylist adjusting the woman’s blindfold mid-intercourse while a production assistant watches ambivalently in the distance. The periphery of the scene diffuses its erotic potential to the point of humor. The intended function of the subject matter is confounded with the means by which that function is produced. \u003c/p>\n\u003cfigure id=\"attachment_13857787\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200.jpg\" alt=\"Installation view of 'Handless Operative,' with work by Larry Sultan (left), Jennifer Brandon (center) and Whitney Hubbs (right).\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13857787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-Casemore-Handless-Operative-08_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Handless Operative,’ with work by Larry Sultan (left), Jennifer Brandon (center) and Whitney Hubbs (right). \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the theory of the “handless operative” both White and Sultan’s photographs intentionally circumvent the obvious. They offer images that stare right back at us, deadpan. \u003c/p>\n\u003cp>While the production process of each individual artwork in \u003cem>Handless Operative\u003c/em> directs how we view it, the artist’s influence still provides space for us to see a work on its own terms and through our own means of interpretation. But viewing artwork in a gallery setting, especially in a curated group show, is anything but incidental. The curatorial hand is ever-present in guiding our gaze. \u003c/p>\n\u003cp>In \u003cem>Handless Operative\u003c/em> Bibeau brings our attention to the mechanisms of the photographic medium: the way the camera’s mediation subverts or reinforces an image’s authority, and how the transparency of its production or lack thereof lead us to that conclusion. Turns out the handless operative isn’t so hands-free after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Handless Operative’ is on view at San Francisco’s Casemore Kirkeby through May 25. \u003ca href=\"https://casemorekirkeby.com/exhibition/handless-operative/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kate Dash is tight. Like, in the way you’d describe one of the undeniably cool kids at your school.\u003c/p>\n\u003cp>She has pink hair. She’s a skateboarder who likes to “bomb” down hills in San Francisco. And she’s a photographer who features images of other undeniably cool kids—the majority of whom are mothers. Oh, and Dash herself is a mother of two.\u003c/p>\n\u003cp>She was born in the Philippines, raised in the South Bay and now resides in San Francisco. I caught up with her in the City at\u003cspan style=\"font-weight: 400\"> Jessica Buera’s\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://concreterosesalon.glossgenius.com/\">Concrete Rose Salon\u003c/a>, where Dash told me about what color she plans to dye her hair next, as well as what’s next for her as a photographer: s\u003c/span>he’s on the verge of launching her own magazine, focused on photos and stories of mothers.\u003c/p>\n\u003cp>With Mother’s Day on Sunday, I thought it’d be a great time to amplify Dash’s work to dispel any notions that being a mother, no matter what age, is a bad thing. “That’s my whole purpose,” says Dash. “Like, why do we hate on moms so much? You know it’s like, we’re really out here. This society pushes everyone to have sex and the minute someone’s pregnant: ‘Ooh, you were a hoe. Ooh, you had sex. Ooh, what the hell were you doing having sex?'”\u003c/p>\n\u003cp>Dash’s Instagram name, \u003ca href=\"https://www.instagram.com/been.milky/\">@Been.Milky\u003c/a>, honors the fact that mothers have the ability to feed all of humankind. In her eyes, mothers are the most important beings walking this earth. And since she’s a photographer, she can show us exactly what she sees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate Dash is tight. Like, in the way you’d describe one of the undeniably cool kids at your school.\u003c/p>\n\u003cp>She has pink hair. She’s a skateboarder who likes to “bomb” down hills in San Francisco. And she’s a photographer who features images of other undeniably cool kids—the majority of whom are mothers. Oh, and Dash herself is a mother of two.\u003c/p>\n\u003cp>She was born in the Philippines, raised in the South Bay and now resides in San Francisco. I caught up with her in the City at\u003cspan style=\"font-weight: 400\"> Jessica Buera’s\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://concreterosesalon.glossgenius.com/\">Concrete Rose Salon\u003c/a>, where Dash told me about what color she plans to dye her hair next, as well as what’s next for her as a photographer: s\u003c/span>he’s on the verge of launching her own magazine, focused on photos and stories of mothers.\u003c/p>\n\u003cp>With Mother’s Day on Sunday, I thought it’d be a great time to amplify Dash’s work to dispel any notions that being a mother, no matter what age, is a bad thing. “That’s my whole purpose,” says Dash. “Like, why do we hate on moms so much? You know it’s like, we’re really out here. This society pushes everyone to have sex and the minute someone’s pregnant: ‘Ooh, you were a hoe. Ooh, you had sex. Ooh, what the hell were you doing having sex?'”\u003c/p>\n\u003cp>Dash’s Instagram name, \u003ca href=\"https://www.instagram.com/been.milky/\">@Been.Milky\u003c/a>, honors the fact that mothers have the ability to feed all of humankind. In her eyes, mothers are the most important beings walking this earth. And since she’s a photographer, she can show us exactly what she sees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rightnowish: Stepping Inside Chris Fraser's Pinhole Camera",
"headTitle": "Rightnowish: Stepping Inside Chris Fraser’s Pinhole Camera | KQED",
"content": "\u003cp>Chris Fraser is a trained photographer who’s taken his craft to another dimension: for his current exhibition \u003cem>Windows\u003c/em>, he invites attendees to step inside of a pinhole camera.\u003c/p>\n\u003cp>I first met \u003ca href=\"http://www.chrisfraserstudio.com/\">Chris\u003c/a> at a birthday party where most of the attendees were African American. Chris, a tall white guy with glasses, stood out from the crowd. After being introduced, we talked a bit about his artwork, and he attempted to explain his creation as best he could. (I say “attempted” because you can imagine how hard it is to explain an immersive pinhole camera while a bunch of toddlers run circles around your conversation.)\u003c/p>\n\u003cfigure id=\"attachment_13853924\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg\" alt=\"Chris Fraser in the shadows\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser, in the shadows. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later, Chris, who’s also a father of a young child, found time to talk over the phone. He told me how he spent time in nearly every part of California before settling in Oakland, where he works as a part-time teacher at Mills College. In addition to being an educator, he practices photography, but his latest expression of the craft is more about constructing contraptions than creating photos.\u003c/p>\n\u003cp>Chris uses natural light beamed through the wooden slats found inside the plaster walls of old houses—a material called lath. As the earth moves, the sun’s beams shine through the crevices of the lath, creating small circular images on the ground of the gallery that look almost like the sun itself.\u003c/p>\n\u003cfigure id=\"attachment_13853921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg\" alt=\"Chris Fraser's latest installation\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser’s latest installation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris explained how this act of art toes the line of science and spirituality. To hear our full conversation, check out the audio link above—or, better yet, see it for yourself. \u003cem>Windows\u003c/em> runs through April 21 at the Royal Nonesuch Gallery in Oakland. \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chris Fraser is a trained photographer who’s taken his craft to another dimension: for his current exhibition \u003cem>Windows\u003c/em>, he invites attendees to step inside of a pinhole camera.\u003c/p>\n\u003cp>I first met \u003ca href=\"http://www.chrisfraserstudio.com/\">Chris\u003c/a> at a birthday party where most of the attendees were African American. Chris, a tall white guy with glasses, stood out from the crowd. After being introduced, we talked a bit about his artwork, and he attempted to explain his creation as best he could. (I say “attempted” because you can imagine how hard it is to explain an immersive pinhole camera while a bunch of toddlers run circles around your conversation.)\u003c/p>\n\u003cfigure id=\"attachment_13853924\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg\" alt=\"Chris Fraser in the shadows\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser, in the shadows. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later, Chris, who’s also a father of a young child, found time to talk over the phone. He told me how he spent time in nearly every part of California before settling in Oakland, where he works as a part-time teacher at Mills College. In addition to being an educator, he practices photography, but his latest expression of the craft is more about constructing contraptions than creating photos.\u003c/p>\n\u003cp>Chris uses natural light beamed through the wooden slats found inside the plaster walls of old houses—a material called lath. As the earth moves, the sun’s beams shine through the crevices of the lath, creating small circular images on the ground of the gallery that look almost like the sun itself.\u003c/p>\n\u003cfigure id=\"attachment_13853921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg\" alt=\"Chris Fraser's latest installation\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser’s latest installation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris explained how this act of art toes the line of science and spirituality. To hear our full conversation, check out the audio link above—or, better yet, see it for yourself. \u003cem>Windows\u003c/em> runs through April 21 at the Royal Nonesuch Gallery in Oakland. \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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