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"content": "\u003cp>In new horror movie \u003cem>Heretic\u003c/em>, the terror begins with the promise of a home-cooked blueberry pie. The pie is just one of the ways in which the villain of the piece, Mr. Reed (a superbly sinister Hugh Grant) lures two Mormon missionaries into his spiraling nightmare of a home. The pie — or rather, the lack of one — is the first indication Sister Barnes (\u003cem>Yellowjackets\u003c/em>’ Sophie Thatcher) and Sister Paxton (Chloe East) have that they’re in danger. Blueberry pie appears again and again throughout.\u003c/p>\n\u003cp>[aside postid='pop_105670']That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>[aside postid='arts_13904911']\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>[aside postid='arts_13959414']In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. 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It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>[aside postid='arts_13967293']The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Unmoving Camera and De-Aging Technology Make ‘Here’ Painful to Watch",
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"content": "\u003cp>Robert Zemeckis’ latest movie is insanely ambitious, starting with the dinosaurs and ending in present day with the Roomba. But it’s fixed on just one spot.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> reunites Zemeckis, screenwriter Eric Roth and actors Tom Hanks and Robin Wright, who collaborated on \u003cem>Forrest Gump\u003c/em>. This time, they’re not telling the larger-than-life story of a man moving through time — they’re telling the centuries-old story of a living room and all the different people who lived there.\u003c/p>\n\u003cp>[aside postid='arts_13967200']In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>[aside postid='arts_13967293']Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>[aside postid='arts_13967226']One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "leonie-guyer-house-of-seiko-three-and-three-and-one-review",
"title": "The Deceptive Minimalism of Léonie Guyer at House of Seiko",
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"headTitle": "The Deceptive Minimalism of Léonie Guyer at House of Seiko | KQED",
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"content": "\u003cp>Every morning, when \u003ca href=\"https://www.leonieguyer.com/\">Léonie Guyer\u003c/a> enters her studio, she tries to trick herself.\u003c/p>\n\u003cp>“Before I cross the threshold,” she says excitedly, her face animated by the thought, “I try to trick myself into thinking that I’ve never been there before. So, when I first see the work inside, I don’t think of it as my work. It’s just the work, and every time I’m seeing it, it’s the first time.”\u003c/p>\n\u003cp>Guyer’s paintings require tremendous sensitivity before they can come into existence. The shapes that she captures in her works feel preexistent, more like forms she’s been patiently waiting to encounter than representations or expressions of inner thoughts.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://houseofseiko.info/present\">Three and Three and One\u003c/a>\u003c/em>, Guyer’s show at House of Seiko, is made up of three watercolors, three paintings on marble and a modest wall drawing painted on-site. The last feels the most alive, perhaps because its simple ovular shape is rendered in dappled shades of crimson. The gentle painting, semi-opaque against the gallery’s wall, seems to pull texture up into its body, drawing out the qualities of wood still preserved beneath the white paint.\u003c/p>\n\u003cfigure id=\"attachment_13967365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000.jpg\" alt=\"three framed works on paper in white gallery space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Material histories\u003c/h2>\n\u003cp>There is a bravery to the simplicity of Guyer’s paintings. Each appears to use only a single color; the strokes she makes on her chosen “canvases” are humble in size. The three watercolors on display, gray with oscillating warm and cold tones, enclose diluted expanses of color in tenuous outlines. Their boundaries are both discrete and gentle, vaguely reminiscent of a shark sack, the semi-translucent rectangular capsule that provides a shell for a shark’s embryo. In one watercolor, the form comes to a sharp horn on the side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her compositions are intimately bound with the material on which she paints. The paper for the watercolors, for example, lived in her studio for 21 years before she felt ready to mark it. During those years, the material wasn’t forgotten, but acted as an ever-present companion, occupying its place in the room as a silent collaborator. As if speaking about an old friend, Guyer happily recounts first encountering the double weight Indian jute paper at the art store New York Central in the early 2000s. With admiration, she describes the traditional process of shaping and drying it.\u003c/p>\n\u003cp>Histories like these are nestled into Guyer’s practice. And San Francisco, Guyer’s home of nearly 50 years, is foundational to her deceptively minimalist pieces. Since moving from Long Island to study at the San Francisco Art Institute, Guyer has been a stalwart Bay Area community member.\u003c/p>\n\u003ch2>‘Lines like writing’\u003c/h2>\n\u003cp>While she adamantly identifies as a painter, poetry plays a central role for the artist. She’s often provided a visual counterpart to the work poets do with words: freeing the image from the burden of narrative. In 2011, she collaborated with Bill Berkson, matching drawings to his monograph \u003cem>\u003ca href=\"https://www.metmuseum.org/art/collection/search/744930\">Not An Exit\u003c/a>\u003c/em>, put out by Jungle Garden Press.\u003c/p>\n\u003cfigure id=\"attachment_13967367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000.jpg\" alt=\"\" width=\"2000\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1920x1325.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At House of Seiko, the works on marble, monochromatic paintings crisp against the stone’s mottled grays, can be understood in relation to another community close to Guyer’s heart. Though made in 2024, the marble pieces remind me of \u003cem>\u003ca href=\"https://openspace.sfmoma.org/2019/02/in-the-place-just-right/\">Gift\u003c/a>\u003c/em>, a 2006 site-based exhibition in which Guyer painted her signature forms on the top floor of a Shaker building, the historic 1829 Brethren’s Workshop in New Lebanon, New York.\u003c/p>\n\u003cp>Guyer first encountered Shaker gift drawings at San Francisco’s \u003ca href=\"https://fraenkelgallery.com/\">Fraenkel Gallery\u003c/a>, during a sweeping group show they’d hung salon-style. The gift drawing was high, high on the wall and semi-obscured by its position. “I’d never seen anything like it,” she recalls, “the lines look like writing. I could hardly tell what it looked like, but I felt the radiation off the page. It was humming.”\u003c/p>\n\u003cp>When she inquired about the piece, the gallery assistant demurred, chancing that the origins were totally unknown. As this was well before the internet, the encounter lived inside the artist’s mind for a long time, tenured in memory, until New York City’s Drawing Center mounted \u003cem>\u003ca href=\"https://drawingcenter.org/exhibitions/heavenly-visions-shaker-gift-drawings-and-gift-songs\">Heavenly Visions\u003c/a>\u003c/em>, a show of gift drawings and gift songs, in 2001.\u003c/p>\n\u003cp>Years after that, the artist \u003ca href=\"https://www.kqed.org/arts/13963630/sarah-cain-quiet-riot-anthony-meier-mill-valley-review\">Sarah Cain\u003c/a>, a student of Guyer’s at SFAI, recognized the images in a lecture and connected Guyer with the \u003ca href=\"https://www.shakermuseum.us/\">Shaker Museum\u003c/a>, where Cain’s mother coincidentally worked. The experience with the Shaker aesthetic became so important to her practice that when the Wattis Institute mounted \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/la-onie-guyer-form-in-the-realm-of-2018\">form in the realm of\u003c/a>\u003c/em>, a 2018 exhibition of Guyer’s work, they even procured a few actual gift drawings for an introductory vitrine.\u003c/p>\n\u003cfigure id=\"attachment_13967368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000.jpg\" alt=\"delicate watercolor shape on off-white paper, black shape reminiscent of a cat on marble\" width=\"2000\" height=\"1290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1536x991.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1920x1238.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Details of Léonie Guyer works. L: ‘Untitled, MHK-48,’ 2024; R: ‘Untitled, no. 117,’ 2023. \u003ccite>(House of Seiko; photos by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The decorative, handmade gift drawings present language more for its aesthetic qualities than for its meaning. They remind me of how talking is so often less about communicating than keeping someone company. Easy, meaningless chatter does the difficult work of assuring someone “Yes, I am here, I am with you. I’m listening.” The Shaker gift drawings are like that: illustrations of small talk replete in its generosity.\u003c/p>\n\u003cp>Guyer’s paintings don’t talk, but they do populate space emphatically enough to offer a kind of companionship. The \u003ca href=\"https://www.poetryfoundation.org/poets/susan-howe\">Susan Howe poems\u003c/a> included in a booklet made for the House of Seiko show seem to vibrate in agreement.\u003c/p>\n\u003ch2>Ancient symbols\u003c/h2>\n\u003cp>Another touchstone for the artist is the Mycenean figurines of ancient Greece. These relics’ simple shapes adhere to a few stylistic properties. The Mycenean bird goddess, for example, always has a long stem and a small squat face that sits above a flattened ceramic circle gesturing at wings.\u003c/p>\n\u003cp>There’s one at the Metropolitan Museum of Art that Guyer visits often, sometimes using her recent status as a Guggenheim Fellow to access the exhibition in the off-hours. Its body is striped with simple brown paint, and defined by bowing curvature that leaves a trace of the hands that molded its shape, lending the ceramic an organic, living quality.\u003c/p>\n\u003cfigure id=\"attachment_13967369\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967369\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much like her own work, the Mycenean bird goddesses feel symbolic; they adhere to their own secret shorthand. Both her work and the figurines jump out of time, essential and audacious, refusing to be pinned to any specific context. Instead, they feel constantly at home in the present, almost already familiar to the viewer.\u003c/p>\n\u003cp>“Form has a meaning — but it is a meaning entirely its own,” writes the 20th-century art historian Henri Focillon in \u003cem>The Life of Forms in Art\u003c/em>, a foundational text for Guyer that shines a specific light on her practice.\u003c/p>\n\u003ch2>Bodies of pure, essential feeling\u003c/h2>\n\u003cp>The artist’s oblique, careful paintings turn simple shapes into bodies of pure, essential feeling. Her forms share a consistent style, patterned by their own hidden rules. I offer these considerations of gift drawings and Mycenean figures as just one way to look \u003cem>through\u003c/em> Guyer’s works at the interior logic of the universe from which they spring.\u003c/p>\n\u003cp>The imagist poet \u003ca href=\"https://www.poetryfoundation.org/poets/h-d\">H.D.\u003c/a> says we must be in love before we can understand the mysteries of vision. We must begin with the sympathy of thought. This intimacy feels alive in Guyer’s work. Each piece is nonrepresentational, it does not point away, or towards something else, but instead pulls the viewer inwards — towards itself, closer.\u003c/p>\n\u003cp>The vitality of Guyer’s work resists interpretation. In this way, her paintings offer the viewer a new encounter, every time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Three and Three and One\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"title": "Léonie Guyer at House of Seiko: Deceptive Minimalism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every morning, when \u003ca href=\"https://www.leonieguyer.com/\">Léonie Guyer\u003c/a> enters her studio, she tries to trick herself.\u003c/p>\n\u003cp>“Before I cross the threshold,” she says excitedly, her face animated by the thought, “I try to trick myself into thinking that I’ve never been there before. So, when I first see the work inside, I don’t think of it as my work. It’s just the work, and every time I’m seeing it, it’s the first time.”\u003c/p>\n\u003cp>Guyer’s paintings require tremendous sensitivity before they can come into existence. The shapes that she captures in her works feel preexistent, more like forms she’s been patiently waiting to encounter than representations or expressions of inner thoughts.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://houseofseiko.info/present\">Three and Three and One\u003c/a>\u003c/em>, Guyer’s show at House of Seiko, is made up of three watercolors, three paintings on marble and a modest wall drawing painted on-site. The last feels the most alive, perhaps because its simple ovular shape is rendered in dappled shades of crimson. The gentle painting, semi-opaque against the gallery’s wall, seems to pull texture up into its body, drawing out the qualities of wood still preserved beneath the white paint.\u003c/p>\n\u003cfigure id=\"attachment_13967365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000.jpg\" alt=\"three framed works on paper in white gallery space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-26_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Material histories\u003c/h2>\n\u003cp>There is a bravery to the simplicity of Guyer’s paintings. Each appears to use only a single color; the strokes she makes on her chosen “canvases” are humble in size. The three watercolors on display, gray with oscillating warm and cold tones, enclose diluted expanses of color in tenuous outlines. Their boundaries are both discrete and gentle, vaguely reminiscent of a shark sack, the semi-translucent rectangular capsule that provides a shell for a shark’s embryo. In one watercolor, the form comes to a sharp horn on the side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her compositions are intimately bound with the material on which she paints. The paper for the watercolors, for example, lived in her studio for 21 years before she felt ready to mark it. During those years, the material wasn’t forgotten, but acted as an ever-present companion, occupying its place in the room as a silent collaborator. As if speaking about an old friend, Guyer happily recounts first encountering the double weight Indian jute paper at the art store New York Central in the early 2000s. With admiration, she describes the traditional process of shaping and drying it.\u003c/p>\n\u003cp>Histories like these are nestled into Guyer’s practice. And San Francisco, Guyer’s home of nearly 50 years, is foundational to her deceptively minimalist pieces. Since moving from Long Island to study at the San Francisco Art Institute, Guyer has been a stalwart Bay Area community member.\u003c/p>\n\u003ch2>‘Lines like writing’\u003c/h2>\n\u003cp>While she adamantly identifies as a painter, poetry plays a central role for the artist. She’s often provided a visual counterpart to the work poets do with words: freeing the image from the burden of narrative. In 2011, she collaborated with Bill Berkson, matching drawings to his monograph \u003cem>\u003ca href=\"https://www.metmuseum.org/art/collection/search/744930\">Not An Exit\u003c/a>\u003c/em>, put out by Jungle Garden Press.\u003c/p>\n\u003cfigure id=\"attachment_13967367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000.jpg\" alt=\"\" width=\"2000\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-20_2000-1920x1325.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At House of Seiko, the works on marble, monochromatic paintings crisp against the stone’s mottled grays, can be understood in relation to another community close to Guyer’s heart. Though made in 2024, the marble pieces remind me of \u003cem>\u003ca href=\"https://openspace.sfmoma.org/2019/02/in-the-place-just-right/\">Gift\u003c/a>\u003c/em>, a 2006 site-based exhibition in which Guyer painted her signature forms on the top floor of a Shaker building, the historic 1829 Brethren’s Workshop in New Lebanon, New York.\u003c/p>\n\u003cp>Guyer first encountered Shaker gift drawings at San Francisco’s \u003ca href=\"https://fraenkelgallery.com/\">Fraenkel Gallery\u003c/a>, during a sweeping group show they’d hung salon-style. The gift drawing was high, high on the wall and semi-obscured by its position. “I’d never seen anything like it,” she recalls, “the lines look like writing. I could hardly tell what it looked like, but I felt the radiation off the page. It was humming.”\u003c/p>\n\u003cp>When she inquired about the piece, the gallery assistant demurred, chancing that the origins were totally unknown. As this was well before the internet, the encounter lived inside the artist’s mind for a long time, tenured in memory, until New York City’s Drawing Center mounted \u003cem>\u003ca href=\"https://drawingcenter.org/exhibitions/heavenly-visions-shaker-gift-drawings-and-gift-songs\">Heavenly Visions\u003c/a>\u003c/em>, a show of gift drawings and gift songs, in 2001.\u003c/p>\n\u003cp>Years after that, the artist \u003ca href=\"https://www.kqed.org/arts/13963630/sarah-cain-quiet-riot-anthony-meier-mill-valley-review\">Sarah Cain\u003c/a>, a student of Guyer’s at SFAI, recognized the images in a lecture and connected Guyer with the \u003ca href=\"https://www.shakermuseum.us/\">Shaker Museum\u003c/a>, where Cain’s mother coincidentally worked. The experience with the Shaker aesthetic became so important to her practice that when the Wattis Institute mounted \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/la-onie-guyer-form-in-the-realm-of-2018\">form in the realm of\u003c/a>\u003c/em>, a 2018 exhibition of Guyer’s work, they even procured a few actual gift drawings for an introductory vitrine.\u003c/p>\n\u003cfigure id=\"attachment_13967368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000.jpg\" alt=\"delicate watercolor shape on off-white paper, black shape reminiscent of a cat on marble\" width=\"2000\" height=\"1290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1536x991.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-4_2000-1920x1238.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Details of Léonie Guyer works. L: ‘Untitled, MHK-48,’ 2024; R: ‘Untitled, no. 117,’ 2023. \u003ccite>(House of Seiko; photos by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The decorative, handmade gift drawings present language more for its aesthetic qualities than for its meaning. They remind me of how talking is so often less about communicating than keeping someone company. Easy, meaningless chatter does the difficult work of assuring someone “Yes, I am here, I am with you. I’m listening.” The Shaker gift drawings are like that: illustrations of small talk replete in its generosity.\u003c/p>\n\u003cp>Guyer’s paintings don’t talk, but they do populate space emphatically enough to offer a kind of companionship. The \u003ca href=\"https://www.poetryfoundation.org/poets/susan-howe\">Susan Howe poems\u003c/a> included in a booklet made for the House of Seiko show seem to vibrate in agreement.\u003c/p>\n\u003ch2>Ancient symbols\u003c/h2>\n\u003cp>Another touchstone for the artist is the Mycenean figurines of ancient Greece. These relics’ simple shapes adhere to a few stylistic properties. The Mycenean bird goddess, for example, always has a long stem and a small squat face that sits above a flattened ceramic circle gesturing at wings.\u003c/p>\n\u003cp>There’s one at the Metropolitan Museum of Art that Guyer visits often, sometimes using her recent status as a Guggenheim Fellow to access the exhibition in the off-hours. Its body is striped with simple brown paint, and defined by bowing curvature that leaves a trace of the hands that molded its shape, lending the ceramic an organic, living quality.\u003c/p>\n\u003cfigure id=\"attachment_13967369\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967369\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/House-of-Seiko-Leonie-Guyer-Documentation-24_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Léonie Guyer’s ‘Three and Three and One’ at House of Seiko. \u003ccite>(House of Seiko; photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much like her own work, the Mycenean bird goddesses feel symbolic; they adhere to their own secret shorthand. Both her work and the figurines jump out of time, essential and audacious, refusing to be pinned to any specific context. Instead, they feel constantly at home in the present, almost already familiar to the viewer.\u003c/p>\n\u003cp>“Form has a meaning — but it is a meaning entirely its own,” writes the 20th-century art historian Henri Focillon in \u003cem>The Life of Forms in Art\u003c/em>, a foundational text for Guyer that shines a specific light on her practice.\u003c/p>\n\u003ch2>Bodies of pure, essential feeling\u003c/h2>\n\u003cp>The artist’s oblique, careful paintings turn simple shapes into bodies of pure, essential feeling. Her forms share a consistent style, patterned by their own hidden rules. I offer these considerations of gift drawings and Mycenean figures as just one way to look \u003cem>through\u003c/em> Guyer’s works at the interior logic of the universe from which they spring.\u003c/p>\n\u003cp>The imagist poet \u003ca href=\"https://www.poetryfoundation.org/poets/h-d\">H.D.\u003c/a> says we must be in love before we can understand the mysteries of vision. We must begin with the sympathy of thought. This intimacy feels alive in Guyer’s work. Each piece is nonrepresentational, it does not point away, or towards something else, but instead pulls the viewer inwards — towards itself, closer.\u003c/p>\n\u003cp>The vitality of Guyer’s work resists interpretation. In this way, her paintings offer the viewer a new encounter, every time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Three and Three and One\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tobin Yelland Exhibit Launches Deluxe Skate Shop’s New Mission Location",
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"content": "\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>[aside postid='arts_13963560']It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13961542']This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Consider the enormous difficulty of making a feature film in Gaza, even before the war of the last 13 months. Ahmed Hassouna persevered for four and a half years, he recounts in his blistering short film, \u003cem>Sorry Cinema\u003c/em>. When he finished in 2019, Palestine didn’t have even a single movie house to show it. \u003c/p>\n\u003cp>Hassouna includes a quick-cut montage of production shots from \u003cem>Istrupya\u003c/em> (\u003cem>Senseless Loss\u003c/em>), which feel terribly nostalgic juxtaposed with contemporary verité footage of bombed-out buildings and parachuted-in supplies. In need of firewood for cooking, he chops up his film slate (or clapperboard), ending \u003cem>Sorry Cinema\u003c/em> by watching his dreams literally go up in smoke.\u003c/p>\n\u003cp>A highlight among the 22 shorts that comprise the Arab Film Festival’s centerpiece film, \u003cem>\u003ca href=\"https://arabfilm2024.eventive.org/films/66e05f0fceca0300a4ccece7\">From Ground Zero\u003c/a>\u003c/em>, \u003cem>Sorry Cinema\u003c/em> eloquently conveys both the intangible costs of war and the impulse to make art in impossible circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13967342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg\" alt=\"boy plays drums on an assortment of upturned buckets, others watch\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karim Satoum’s ‘Hell’s Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another haunting first-person piece, Ala’a Islam Ayoub’s \u003cem>Overburden\u003c/em>, revisits the young filmmaker’s decision not to take any of her beloved books when she and her mother hurriedly fled the city of Gaza for the north. “What is heavier than oppression?” she asks bitterly. “How could I have thought for an instant that my books weighed more?”\u003c/p>\n\u003cp>Palestine’s official submission for the Academy Award for Best International Feature Film, \u003cem>From Ground Zero\u003c/em> screens Wednesday, Oct. 30 at the New Parkway Theater in Oakland. \u003ci>Editor’s note: The screening is sold out, and the film is not included in the festival’s online program, though attempts are being made as of publication to add an additional screening.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spearheaded and produced by Palestinian filmmaker Rashid Masharawi, \u003cem>From Ground Zero\u003c/em> encompasses films of varying ambition and accomplishment. The overall quality is remarkably high, especially given the uncertain and dangerous conditions on the ground. \u003c/p>\n\u003cp>The most jarring case of those conditions — reality, that is — eclipsing fiction is \u003cem>Taxi Wanissa\u003c/em>, a neorealist portrait of a man who makes a living carrying goods and passengers on a wagon pulled by his donkey Wanissa. Suddenly, filmmaker Etimad Washah appears on camera to recount the deaths of her brother and his children, her ensuing depression and inability to continue production. With that, the screen goes black, and the only appropriate reaction is stunned, respectful silence.\u003c/p>\n\u003cfigure id=\"attachment_13967345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg\" alt=\"woman in hijab stands next to art prints hung on wall\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Neda’a Abu Hasna’s ‘Out of Frame.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another kind of horror invades Khamis Masharawi’s \u003cem>Soft Skin\u003c/em>. Several endearing refugee children in colorful clothes make cutout figures for a stop-motion animated film drawn from their experiences of war. They show off their names, scripted by their mothers on their arms and legs in bold black ink.\u003c/p>\n\u003cp>Why? No explanation is needed by this point, just seven films into \u003cem>From Ground Zero\u003c/em>. We’ve already seen enough piles of rubble — destroyed homes — where some people are buried and others are pulled from the wreckage. Think about it: children don’t carry ID.\u003c/p>\n\u003cp>Given the sanitized state of TV news and Americans’ general indifference to what goes on anywhere outside the U.S., \u003cem>From Ground Zero\u003c/em> is an enormously essential compilation that should be seen widely. Does that read like a political comment? Surely people with strong opinions who have taken a side in what is characterized as the war between Israel and Hamas will watch \u003cem>From Ground Zero\u003c/em> — and read reviews — from their own perspectives.\u003c/p>\n\u003cp>But I did not hear either entity invoked once across 22 films. No fingers are pointed. Aside from Ala’a Ayoub’s utterance of “oppression” and several invocations of “martyrs” to describe loved ones who were killed in air raids, the causes and sources of the violence are secondary to surviving it.\u003c/p>\n\u003cfigure id=\"attachment_13967343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg\" alt=\"man in suit with sunglasses on head smiles with both arms raised\" width=\"1920\" height=\"1068\" class=\"size-full wp-image-13967343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Nidal Damo’s ‘Everything is Fine.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subjects of the films, start to finish, are innocent civilians. Consequently, the vignettes of life during wartime that comprise \u003cem>From Ground Zero\u003c/em> take their place, sadly, in the long annals of human suffering. “I don’t know when the war will end,” writer Diana El Shinawy says in Mustafa Al Nabij’s \u003cem>Offering\u003c/em>. “We will all need therapy to endure all the pain. No one is OK.”\u003c/p>\n\u003cp>[aside postID='arts_13966771,arts_13966738']These 22 films are documents of powerlessness, and they are also cries of protest at that lack of power. For all the shots of rubble and tents, of people queuing for water and bread, \u003cem>From Ground Zero\u003c/em> is less a tour of hell than an affirmation of life. In fact, some viewers may find it hard to believe the hope and optimism willfully summoned by filmmaker Hana Eleiwa in \u003cem>No\u003c/em>. Dismissing suggestions to interview victims, she hangs out instead with a band that rejects despair. “No to everything that destroys us,” declares singer Rahaf Shamali, smiling in the sunshine.\u003c/p>\n\u003cp>You may be surprised, as I was, that a couple of the films take a mildly comedic slant. Nidal Damo’s \u003cem>Everything is Fine\u003c/em> follows a stand-up comic (!) traveling to and prepping for (outdoor haircut, makeshift shower) his gig that night. In \u003cem>Hell’s Heaven\u003c/em>, Karim Satoum awakens in a body bag, then displays a mordant wit reminiscent of Palestinian filmmaker Elia Suleiman in revisiting the events of the previous day that led to this moment.\u003c/p>\n\u003cp>You have to admire the spirit and the character of filmmakers seeing, or seeking, a glimmer of light among the clouds. Even then, Sartoum won’t, or can’t, ignore the truth. “Nothing remains of this city except the sea,” he says in voice-over, doggedly putting one foot in front of the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘From Ground Zero,’ now shortlisted for the Academy Award for International Feature Film plays \u003ca href=\"https://roxie.com/film/from-ground-zero/\">Jan. 7–20 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider the enormous difficulty of making a feature film in Gaza, even before the war of the last 13 months. Ahmed Hassouna persevered for four and a half years, he recounts in his blistering short film, \u003cem>Sorry Cinema\u003c/em>. When he finished in 2019, Palestine didn’t have even a single movie house to show it. \u003c/p>\n\u003cp>Hassouna includes a quick-cut montage of production shots from \u003cem>Istrupya\u003c/em> (\u003cem>Senseless Loss\u003c/em>), which feel terribly nostalgic juxtaposed with contemporary verité footage of bombed-out buildings and parachuted-in supplies. In need of firewood for cooking, he chops up his film slate (or clapperboard), ending \u003cem>Sorry Cinema\u003c/em> by watching his dreams literally go up in smoke.\u003c/p>\n\u003cp>A highlight among the 22 shorts that comprise the Arab Film Festival’s centerpiece film, \u003cem>\u003ca href=\"https://arabfilm2024.eventive.org/films/66e05f0fceca0300a4ccece7\">From Ground Zero\u003c/a>\u003c/em>, \u003cem>Sorry Cinema\u003c/em> eloquently conveys both the intangible costs of war and the impulse to make art in impossible circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13967342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg\" alt=\"boy plays drums on an assortment of upturned buckets, others watch\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karim Satoum’s ‘Hell’s Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another haunting first-person piece, Ala’a Islam Ayoub’s \u003cem>Overburden\u003c/em>, revisits the young filmmaker’s decision not to take any of her beloved books when she and her mother hurriedly fled the city of Gaza for the north. “What is heavier than oppression?” she asks bitterly. “How could I have thought for an instant that my books weighed more?”\u003c/p>\n\u003cp>Palestine’s official submission for the Academy Award for Best International Feature Film, \u003cem>From Ground Zero\u003c/em> screens Wednesday, Oct. 30 at the New Parkway Theater in Oakland. \u003ci>Editor’s note: The screening is sold out, and the film is not included in the festival’s online program, though attempts are being made as of publication to add an additional screening.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spearheaded and produced by Palestinian filmmaker Rashid Masharawi, \u003cem>From Ground Zero\u003c/em> encompasses films of varying ambition and accomplishment. The overall quality is remarkably high, especially given the uncertain and dangerous conditions on the ground. \u003c/p>\n\u003cp>The most jarring case of those conditions — reality, that is — eclipsing fiction is \u003cem>Taxi Wanissa\u003c/em>, a neorealist portrait of a man who makes a living carrying goods and passengers on a wagon pulled by his donkey Wanissa. Suddenly, filmmaker Etimad Washah appears on camera to recount the deaths of her brother and his children, her ensuing depression and inability to continue production. With that, the screen goes black, and the only appropriate reaction is stunned, respectful silence.\u003c/p>\n\u003cfigure id=\"attachment_13967345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg\" alt=\"woman in hijab stands next to art prints hung on wall\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Neda’a Abu Hasna’s ‘Out of Frame.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another kind of horror invades Khamis Masharawi’s \u003cem>Soft Skin\u003c/em>. Several endearing refugee children in colorful clothes make cutout figures for a stop-motion animated film drawn from their experiences of war. They show off their names, scripted by their mothers on their arms and legs in bold black ink.\u003c/p>\n\u003cp>Why? No explanation is needed by this point, just seven films into \u003cem>From Ground Zero\u003c/em>. We’ve already seen enough piles of rubble — destroyed homes — where some people are buried and others are pulled from the wreckage. Think about it: children don’t carry ID.\u003c/p>\n\u003cp>Given the sanitized state of TV news and Americans’ general indifference to what goes on anywhere outside the U.S., \u003cem>From Ground Zero\u003c/em> is an enormously essential compilation that should be seen widely. Does that read like a political comment? Surely people with strong opinions who have taken a side in what is characterized as the war between Israel and Hamas will watch \u003cem>From Ground Zero\u003c/em> — and read reviews — from their own perspectives.\u003c/p>\n\u003cp>But I did not hear either entity invoked once across 22 films. No fingers are pointed. Aside from Ala’a Ayoub’s utterance of “oppression” and several invocations of “martyrs” to describe loved ones who were killed in air raids, the causes and sources of the violence are secondary to surviving it.\u003c/p>\n\u003cfigure id=\"attachment_13967343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg\" alt=\"man in suit with sunglasses on head smiles with both arms raised\" width=\"1920\" height=\"1068\" class=\"size-full wp-image-13967343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Nidal Damo’s ‘Everything is Fine.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subjects of the films, start to finish, are innocent civilians. Consequently, the vignettes of life during wartime that comprise \u003cem>From Ground Zero\u003c/em> take their place, sadly, in the long annals of human suffering. “I don’t know when the war will end,” writer Diana El Shinawy says in Mustafa Al Nabij’s \u003cem>Offering\u003c/em>. “We will all need therapy to endure all the pain. No one is OK.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These 22 films are documents of powerlessness, and they are also cries of protest at that lack of power. For all the shots of rubble and tents, of people queuing for water and bread, \u003cem>From Ground Zero\u003c/em> is less a tour of hell than an affirmation of life. In fact, some viewers may find it hard to believe the hope and optimism willfully summoned by filmmaker Hana Eleiwa in \u003cem>No\u003c/em>. Dismissing suggestions to interview victims, she hangs out instead with a band that rejects despair. “No to everything that destroys us,” declares singer Rahaf Shamali, smiling in the sunshine.\u003c/p>\n\u003cp>You may be surprised, as I was, that a couple of the films take a mildly comedic slant. Nidal Damo’s \u003cem>Everything is Fine\u003c/em> follows a stand-up comic (!) traveling to and prepping for (outdoor haircut, makeshift shower) his gig that night. In \u003cem>Hell’s Heaven\u003c/em>, Karim Satoum awakens in a body bag, then displays a mordant wit reminiscent of Palestinian filmmaker Elia Suleiman in revisiting the events of the previous day that led to this moment.\u003c/p>\n\u003cp>You have to admire the spirit and the character of filmmakers seeing, or seeking, a glimmer of light among the clouds. Even then, Sartoum won’t, or can’t, ignore the truth. “Nothing remains of this city except the sea,” he says in voice-over, doggedly putting one foot in front of the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘From Ground Zero,’ now shortlisted for the Academy Award for International Feature Film plays \u003ca href=\"https://roxie.com/film/from-ground-zero/\">Jan. 7–20 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967331\" class=\"wp-caption aligncenter\" style=\"max-width: 1344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png\" alt=\"A book cover featuring an illustration of flowers against a yellow circle on a black background.\" width=\"1344\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png 1344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-800x1190.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1020x1518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1032x1536.png 1032w\" sizes=\"(max-width: 1344px) 100vw, 1344px\">\u003cfigcaption class=\"wp-caption-text\">‘Masquerade’ by Mike Fu. \u003ccite>(Tin House Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meadow is coming up on 10 years living in New York, and he’s still adrift. His boyfriend ghosted him, his current residence is actually a housesitting gig, and his bartending job isn’t exactly filling his parents with pride. But this summer, strange things keep happening that will make or break him.\u003c/p>\n\u003cp>[aside postid='arts_13967077']Right at the start of Mike Fu’s debut novel, \u003cem>Masquerade\u003c/em>, Meadow finds a strange book called \u003cem>The Masquerade\u003c/em> — written by someone with his same name.\u003c/p>\n\u003cp>In a rush to catch the plane to visit his parents in Shanghai, he stuffs the book in his bag. As he reads it, he finds uncanny parallels between his life and the novel.\u003c/p>\n\u003cp>Dream-like, \u003cem>Masquerade\u003c/em> begins somewhat aimless, introducing small mysteries and oddities that provide an unnerving background hum to an otherwise aimless plot. Like Meadow, we’re not sure where this is all going, or what is going to prove important later, though the occasional foreshadowing reminds us there’s a bigger issue at hand.\u003c/p>\n\u003cp>There’s a disappearance. There’s an apparent doppelganger, and maybe a ghost, too. And a strange mirror haunts Meadow’s dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>[aside postid='arts_13966822']\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Hardy’s Double Act Can’t Save ‘Venom: The Last Dance’",
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"content": "\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>[aside postid='arts_13967226']The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HyIyd9joTTc\u003c/p>\n\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>[aside postid='arts_13967037']But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HyIyd9joTTc'\n title='//www.youtube.com/embed/HyIyd9joTTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anora’ Disguises Its Moral Center in a Swirl of Exuberance and Mayhem",
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"content": "\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n",
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"title": "‘Anora’ Review: An Entertaining Swirl With a Moral Center | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For many San Franciscans, myself included, Marin is a mysterious, majestic place with hidden pockets of culture and community, all nestled in the shadow of Mount Tamalpais. But there’s a rich history of accomplished artists in the area — and a generation on the rise. The Marin Museum of Contemporary Art, with a new exhibition space in San Rafael, is aiming to bring North Bay art front and center.\u003c/p>\n\u003cp>MarinMOCA San Rafael is a satellite location of the Novato museum, which has programmed exhibitions and housed artists’ studios at the former military base of Hamilton Field for nearly two decades, mostly with volunteer labor. The San Rafael space is, for now, just a gallery, on the ground floor of an office building the museum quickly designated as an unmissable art space by painting the façade bright pink. If all goes to plan, San Rafael’s burgeoning \u003ca href=\"https://www.caculturaldistricts.org/san-rafael\">Downtown Arts District\u003c/a> will likely become MarinMOCA’s full-time home.\u003c/p>\n\u003cp>“[The museum] has made many attempts to renegotiate its lease with the city of Novato, but at this point we’re realizing that, in terms of our public facing mission, another location is probably better,” says \u003ca href=\"https://pacificsun.com/meet-jodi-roberts-marinmocas-new-executive-director/\">recently appointed\u003c/a> MarinMOCA Director Jodi Roberts.\u003c/p>\n\u003cfigure id=\"attachment_13967242\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535.jpeg\" alt=\"bright pink painted facade of building with trees in sidewalk\" width=\"1280\" height=\"958\" class=\"size-full wp-image-13967242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-1020x763.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-768x575.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A view of MarinMOCA’s new San Rafael location at 1210 Fifth Ave. \u003ccite>(Courtesy MarinMOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Programming will continue in both locations through at least the end of this year. The museum’s lease in the San Rafael location is good through October 2025, at which point Roberts hopes to have found a larger, permanent home. The museum will remain free and continue its \u003ca href=\"https://marinmoca.org/join-artists-of-marinmoca/\">artist membership program\u003c/a> after the move. While Roberts’s sights are set on increasing MarinMOCA’s cultural impact, local artists are the key to doing so.\u003c/p>\n\u003cp>“There are so many artists who have had meaningful, productive periods in the North Bay,” Roberts says. “We want to put those stories out there and develop the history of how the North Bay has been a real touchstone for artists throughout the Bay Area.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MarinMOCA San Rafael’s inaugural exhibition, \u003cem>\u003ca href=\"https://marinmoca.org/exhibitions/event/198/\">Opening the Mountain\u003c/a>\u003c/em> circles a lineage of North Bay artists. Marin’s history of affordability, its natural spaces and proximity to San Francisco, have inspired multiple generations of artists to make their home there. This range of ages and backgrounds is reflected in the exhibition, from the artists included to the curators behind it. Veteran curator Natasha Boas and recent college graduate Asha McGee selected a refreshing mix of 23 decorated and rising artists for the show, including Adeline Kent, Chris Johanson, Saif Azzuz and Daisy Sheff, all with some connection to Marin.\u003c/p>\n\u003cfigure id=\"attachment_13967241\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524.jpeg\" alt=\"paintings and sculptures in large gallery space with windows\" width=\"1280\" height=\"958\" class=\"size-full wp-image-13967241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-1020x763.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-768x575.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Opening the Mountain’ at MarinMOCA’s new San Rafael exhibition space. \u003ccite>(Courtesy MarinMOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Both know this place well enough that they are able to pinpoint a historical moment and understand how that resonates,” Roberts says of the curators.\u003c/p>\n\u003cp>Many of the young artists come from McGee’s social circle.\u003c/p>\n\u003cp>“I’ve seen their art grow over the years,” she says. “I grew up seeing my dad [the artist \u003ca href=\"https://www.kqed.org/arts/13966446/barry-mcgee-new-era-berggruen-interview\">Barry McGee\u003c/a>] do shows and always bringing in his community and friends, which influenced me a lot. The idea of bringing everybody up with you and also paying homage to how much your community has affected your work or your life.”\u003c/p>\n\u003cp>For Boas, the show expands beyond geographical location to encompass that sense of art historical genealogy.\u003c/p>\n\u003cp>“I really don’t see this as a Marin show,” she says. “All the artists in the show have much larger audiences and geography is not the focal point — it is, rather, the jumping off point. It’s really about a certain kind of art-making, exhibition-making and kind of representation and practice that is tied to a generative community.”\u003c/p>\n\u003cfigure id=\"attachment_13967252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000.jpg\" alt=\"black-and-white photo of a young person hugging an older person\" width=\"2000\" height=\"2465\" class=\"size-full wp-image-13967252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-800x986.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1020x1257.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-768x947.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1246x1536.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1662x2048.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1920x2366.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabel de Vries, ‘Hug,’ 2022. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of intergenerational relationships is present throughout.\u003c/p>\n\u003cp>Anabel de Vries’s suite of black-and-white photographs of maternal care hang opposite Stella Kudritzki pictures of a group of young girls playing and posing for the camera. Alice Shaw’s riffs on Chinese brush painting — photographic prints of flowers on gold leaf — hang beside her mother Martha Shaw’s diffuse landscape paintings. Another direct mother-daughter relationship is present in the inclusion of stylized landscape paintings by McGee’s late mother, Margaret Kilgallen.\u003c/p>\n\u003cp>Still, the landscape shines as a strong inspiration throughout the show. A pair of Adaline Kent drawings, showing charcoal infinity symbols cascading into waterfalls, flank a \u003ci>Untitled (Mountain Meadow)\u003c/i> (all 1944), uniquely colorful and figurative for Kent’s typical drawing style. The artist, who was a mainstay of the interwar San Francisco art scene, spent most of her spare time in the nature of the North Bay. She also had generational ties — the city of Kentfield is named after her family.\u003c/p>\n\u003cp>Nick Gorham and July Guzman’s more recent oil paintings offer abstract, deeply felt interpretations of the land, evoking a recognizable feeling of the sublime in West Marin’s natural environment. And Ashwini Bhat’s abstract ceramic sculpture, a twisted vessel form, Self Portrait as California Landscape says it all: the landscape is as much a place we inhabit as something that inhabits us.\u003c/p>\n\u003cfigure id=\"attachment_13967256\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent.jpg\" alt=\"composite of two paintings, one with flowers and waterfall-like black lines, another abstract angled blocks of color\" width=\"972\" height=\"600\" class=\"size-full wp-image-13967256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-768x474.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">L: Adaline Kent, ‘Untitled (Mountain Meadow),’ c. 1944. R: Nick Gorham, ‘Sun,’ 2024. \u003ccite>(L: Courtesy of the Adaline Kent Estate and Altman Siegel, San Francisco; Photog by Ron Jones / R: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition shares its title with a book about a Zen ritual walk around Mount Tamalpais undertaken by Beat Generation poets Allen Ginsberg, Gary Snyder and Philip Whalen in 1965. The show feels like a similar ambulation of the region; it’s a roving survey of all the vantages and vistas the place had to offer, and an opportunity for introspection on that legacy.\u003c/p>\n\u003cp>For McGee, both the sense of community, and of place, relate to the future as much as to the past and present.\u003c/p>\n\u003cp>“I think the Bay Area is ripe for the taking right now,” McGee says. “We’re at a point that feels very pivotal. Are we going to pick this community up and say, ‘We’re all together in this and we’re going to restore the Bay Area to what it used to be?’”\u003c/p>\n\u003cp>Opening the Mountain answers McGee’s question with a resounding yes. At least from the Marin artists. But will the rest of the Bay Area take note of the rumblings from beneath the mountain?\u003c/p>\n\u003cp>“It’s time for Marin to take its place as a cultural hotspot,” Roberts says. “It’s been that historically, it just hasn’t been recognized — and that’s the role that a cultural institution can play.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Opening the Mountain’ is on view at MarinMOCA San Rafael (1210 Fifth Ave., San Rafael), through Dec. 21, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many San Franciscans, myself included, Marin is a mysterious, majestic place with hidden pockets of culture and community, all nestled in the shadow of Mount Tamalpais. But there’s a rich history of accomplished artists in the area — and a generation on the rise. The Marin Museum of Contemporary Art, with a new exhibition space in San Rafael, is aiming to bring North Bay art front and center.\u003c/p>\n\u003cp>MarinMOCA San Rafael is a satellite location of the Novato museum, which has programmed exhibitions and housed artists’ studios at the former military base of Hamilton Field for nearly two decades, mostly with volunteer labor. The San Rafael space is, for now, just a gallery, on the ground floor of an office building the museum quickly designated as an unmissable art space by painting the façade bright pink. If all goes to plan, San Rafael’s burgeoning \u003ca href=\"https://www.caculturaldistricts.org/san-rafael\">Downtown Arts District\u003c/a> will likely become MarinMOCA’s full-time home.\u003c/p>\n\u003cp>“[The museum] has made many attempts to renegotiate its lease with the city of Novato, but at this point we’re realizing that, in terms of our public facing mission, another location is probably better,” says \u003ca href=\"https://pacificsun.com/meet-jodi-roberts-marinmocas-new-executive-director/\">recently appointed\u003c/a> MarinMOCA Director Jodi Roberts.\u003c/p>\n\u003cfigure id=\"attachment_13967242\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535.jpeg\" alt=\"bright pink painted facade of building with trees in sidewalk\" width=\"1280\" height=\"958\" class=\"size-full wp-image-13967242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-1020x763.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9535-768x575.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A view of MarinMOCA’s new San Rafael location at 1210 Fifth Ave. \u003ccite>(Courtesy MarinMOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Programming will continue in both locations through at least the end of this year. The museum’s lease in the San Rafael location is good through October 2025, at which point Roberts hopes to have found a larger, permanent home. The museum will remain free and continue its \u003ca href=\"https://marinmoca.org/join-artists-of-marinmoca/\">artist membership program\u003c/a> after the move. While Roberts’s sights are set on increasing MarinMOCA’s cultural impact, local artists are the key to doing so.\u003c/p>\n\u003cp>“There are so many artists who have had meaningful, productive periods in the North Bay,” Roberts says. “We want to put those stories out there and develop the history of how the North Bay has been a real touchstone for artists throughout the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MarinMOCA San Rafael’s inaugural exhibition, \u003cem>\u003ca href=\"https://marinmoca.org/exhibitions/event/198/\">Opening the Mountain\u003c/a>\u003c/em> circles a lineage of North Bay artists. Marin’s history of affordability, its natural spaces and proximity to San Francisco, have inspired multiple generations of artists to make their home there. This range of ages and backgrounds is reflected in the exhibition, from the artists included to the curators behind it. Veteran curator Natasha Boas and recent college graduate Asha McGee selected a refreshing mix of 23 decorated and rising artists for the show, including Adeline Kent, Chris Johanson, Saif Azzuz and Daisy Sheff, all with some connection to Marin.\u003c/p>\n\u003cfigure id=\"attachment_13967241\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524.jpeg\" alt=\"paintings and sculptures in large gallery space with windows\" width=\"1280\" height=\"958\" class=\"size-full wp-image-13967241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-1020x763.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_9524-768x575.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Opening the Mountain’ at MarinMOCA’s new San Rafael exhibition space. \u003ccite>(Courtesy MarinMOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Both know this place well enough that they are able to pinpoint a historical moment and understand how that resonates,” Roberts says of the curators.\u003c/p>\n\u003cp>Many of the young artists come from McGee’s social circle.\u003c/p>\n\u003cp>“I’ve seen their art grow over the years,” she says. “I grew up seeing my dad [the artist \u003ca href=\"https://www.kqed.org/arts/13966446/barry-mcgee-new-era-berggruen-interview\">Barry McGee\u003c/a>] do shows and always bringing in his community and friends, which influenced me a lot. The idea of bringing everybody up with you and also paying homage to how much your community has affected your work or your life.”\u003c/p>\n\u003cp>For Boas, the show expands beyond geographical location to encompass that sense of art historical genealogy.\u003c/p>\n\u003cp>“I really don’t see this as a Marin show,” she says. “All the artists in the show have much larger audiences and geography is not the focal point — it is, rather, the jumping off point. It’s really about a certain kind of art-making, exhibition-making and kind of representation and practice that is tied to a generative community.”\u003c/p>\n\u003cfigure id=\"attachment_13967252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000.jpg\" alt=\"black-and-white photo of a young person hugging an older person\" width=\"2000\" height=\"2465\" class=\"size-full wp-image-13967252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-800x986.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1020x1257.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-768x947.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1246x1536.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1662x2048.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Annabel-de-Vries-Hug-2022-courtesy-of-the-artist_2000-1920x2366.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabel de Vries, ‘Hug,’ 2022. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of intergenerational relationships is present throughout.\u003c/p>\n\u003cp>Anabel de Vries’s suite of black-and-white photographs of maternal care hang opposite Stella Kudritzki pictures of a group of young girls playing and posing for the camera. Alice Shaw’s riffs on Chinese brush painting — photographic prints of flowers on gold leaf — hang beside her mother Martha Shaw’s diffuse landscape paintings. Another direct mother-daughter relationship is present in the inclusion of stylized landscape paintings by McGee’s late mother, Margaret Kilgallen.\u003c/p>\n\u003cp>Still, the landscape shines as a strong inspiration throughout the show. A pair of Adaline Kent drawings, showing charcoal infinity symbols cascading into waterfalls, flank a \u003ci>Untitled (Mountain Meadow)\u003c/i> (all 1944), uniquely colorful and figurative for Kent’s typical drawing style. The artist, who was a mainstay of the interwar San Francisco art scene, spent most of her spare time in the nature of the North Bay. She also had generational ties — the city of Kentfield is named after her family.\u003c/p>\n\u003cp>Nick Gorham and July Guzman’s more recent oil paintings offer abstract, deeply felt interpretations of the land, evoking a recognizable feeling of the sublime in West Marin’s natural environment. And Ashwini Bhat’s abstract ceramic sculpture, a twisted vessel form, Self Portrait as California Landscape says it all: the landscape is as much a place we inhabit as something that inhabits us.\u003c/p>\n\u003cfigure id=\"attachment_13967256\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent.jpg\" alt=\"composite of two paintings, one with flowers and waterfall-like black lines, another abstract angled blocks of color\" width=\"972\" height=\"600\" class=\"size-full wp-image-13967256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Nick-Gorham-Sun-2024-courtesy-of-the-artist_plusKent-768x474.jpg 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">L: Adaline Kent, ‘Untitled (Mountain Meadow),’ c. 1944. R: Nick Gorham, ‘Sun,’ 2024. \u003ccite>(L: Courtesy of the Adaline Kent Estate and Altman Siegel, San Francisco; Photog by Ron Jones / R: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition shares its title with a book about a Zen ritual walk around Mount Tamalpais undertaken by Beat Generation poets Allen Ginsberg, Gary Snyder and Philip Whalen in 1965. The show feels like a similar ambulation of the region; it’s a roving survey of all the vantages and vistas the place had to offer, and an opportunity for introspection on that legacy.\u003c/p>\n\u003cp>For McGee, both the sense of community, and of place, relate to the future as much as to the past and present.\u003c/p>\n\u003cp>“I think the Bay Area is ripe for the taking right now,” McGee says. “We’re at a point that feels very pivotal. Are we going to pick this community up and say, ‘We’re all together in this and we’re going to restore the Bay Area to what it used to be?’”\u003c/p>\n\u003cp>Opening the Mountain answers McGee’s question with a resounding yes. At least from the Marin artists. But will the rest of the Bay Area take note of the rumblings from beneath the mountain?\u003c/p>\n\u003cp>“It’s time for Marin to take its place as a cultural hotspot,” Roberts says. “It’s been that historically, it just hasn’t been recognized — and that’s the role that a cultural institution can play.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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