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"content": "\u003cp>In John Berryman’s “\u003ca href=\"https://www.poetryfoundation.org/poems/48265/dream-song-29\">Dream Song 29\u003c/a>,” the poem opens with a heaviness (“There sat down, once, a thing on Henry’s heart”) that the subject cannot dispel: “Ghastly, / with open eyes, he attends, blind.”\u003c/p>\n\u003cp>It’s this quality of existential unease, of being unable to either look away or end the source of discomfort, that curator Adrianne Ramsey had in mind while organizing \u003ci>\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>\u003c/i>, a 14-person group show of Black artists at Root Division. She began working on the show, which includes photography, textiles, painting and video, after the murder of George Floyd by a Minneapolis police officer in May 2020. \u003c/p>\n\u003cp>In her curatorial essay, Ramsey recalls how videos of the murder were circulating on social media without any warnings about shocking violence of the content. She points to more recent examples of “Black trauma porn,” like the leaked video of music mogul Sean Combs beating his then-girlfriend Cassie Ventura in a hotel.\u003c/p>\n\u003cfigure id=\"attachment_13961313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg\" alt=\"Three wall-mounted artworks on white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Michon Sander’s ‘Used To Issue Out A Warning’ at center. \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>With Open Eyes\u003c/i> is meant to be an opportunity for Black artists to tell their own stories, not ignoring all harm but allowing them to reframe “the narrative that said bodies only experience harm,” Ramsey writes. \u003c/p>\n\u003cp>Two oil paintings by local artist \u003ca href=\"https://michonsandersart.com/\">Michon Sanders\u003c/a> lovingly depict her ancestors in dignified moments of rest. In \u003ci>Arthur Brown (But We Called Him Big Papa)\u003c/i>, Sanders’ great-great grandfather, a man who lived in rural Florida until the early 1900s, looks tranquil, with close-cropped gray hair, a beard and mustache. The background is a royal purple, enhancing his regal bearing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Used To Issue Out A Warning\u003c/i> shows Sanders’ grandmother, who raised nine children, outside in a lawn chair, her hands folded over her belly. The title comes from the lyrics of Bill Withers’ “\u003ca href=\"https://youtu.be/TdrChyGb574?feature=shared\">Grandma’s Hands\u003c/a>,” in which hands caution as well as comfort. \u003c/p>\n\u003cp>Much of the work in the exhibition presents positive views of Black life, but it’s not a false positivity that ignores struggle. For example, in Bay Area artist \u003ca href=\"https://www.instagram.com/playdatephoto/\">Rohan DaCosta\u003c/a>’s arresting photo, \u003ci>Sistaz Outside\u003c/i>, two women are at the beach, one sipping orange juice out of a goblet and the other with a typewriter and a copy of Audre Lorde’s \u003ci>Sister Outsider\u003c/i>. Their obvious enjoyment in being together, children playing by the waves behind them, is juxtaposed with a rendering of a slave ship above their heads, a reminder of a brutal past.\u003c/p>\n\u003cfigure id=\"attachment_13961314\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg\" alt=\"Framed color photo of two women at beach with drawing of slave ship behind them\" width=\"2000\" height=\"2352\" class=\"size-full wp-image-13961314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1306x1536.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1741x2048.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1920x2258.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rohan DaCosta, ‘Sistaz Outside’ in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other pieces offer quieter scenes. Los Angeles artist \u003ca href=\"https://mayajunemansour.com/\">Maya June Mansour\u003c/a>’s photograph \u003ci>Dear Body, What’s The Score?\u003c/i> shows a woman in a white tub with her back to the viewer. We can see her face reflected in the mirror she holds. In \u003ci>I’m Still Here\u003c/i>, Mansour captures what seems to be a still life: a simple room with a wood-burning stove. On the stove sits a small mirror showing the same woman’s face. Both photos, ethereal and spare, evoke a feeling of calm. \u003c/p>\n\u003cp>\u003ci>With Open Eyes\u003c/i> also includes softness and humor. The former comes from \u003ca href=\"https://www.instagram.com/seraphimfairy/?hl=en\">Seraphina Perkins\u003c/a>’ small, colorful quilt embroidered with poetry, \u003ci>Softest Fruits of My Labor\u003c/i>, and the latter comes from \u003ca href=\"https://www.danadav.com/\">Dana Davenport\u003c/a>’s \u003ci>Beauty Supply ASMR\u003c/i>, a video showing fingers in front of a microphone, massaging various beauty supplies to create a crinkly, soothing sound.\u003c/p>\n\u003cfigure id=\"attachment_13961317\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg\" alt=\"Quilted textile work with dried branch hanging above\" width=\"2000\" height=\"2163\" class=\"size-full wp-image-13961317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1420x1536.jpg 1420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1894x2048.jpg 1894w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1920x2076.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Seraphina Perkins in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I walked through the show a few days before it opened, Oakland artist \u003ca href=\"https://www.eniolafakile.com/\">Eniola Fakile\u003c/a> was working on the show’s most speculative piece, \u003ci>Ijinle Omi (mysterious water)\u003c/i>, a physical manifestation of the artist’s invented, fantastical world. In \u003ci>Ijinle Omi\u003c/i>, a sea god distributes magical kelp to visitors in the form of blue, green and tan ceramic pieces — available to Root Division visitors for the taking.\u003c/p>\n\u003cp>“A lot of my practice is really just about finding ways to cope and deal with different feelings through world-building,” Fakile says. “I’m creating a mythology based off different cultures around the world, including my own.”\u003c/p>\n\u003cp>With works like this, whether the artists create their own worlds, or document the people and things important to them in our shared reality, the exhibition goes beyond depictions of collective pain, allowing viewers to open their eyes to a more expansive view of Black art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>’ is on view at Root Division (1131 Mission St., San Francisco) through Aug. 3, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In John Berryman’s “\u003ca href=\"https://www.poetryfoundation.org/poems/48265/dream-song-29\">Dream Song 29\u003c/a>,” the poem opens with a heaviness (“There sat down, once, a thing on Henry’s heart”) that the subject cannot dispel: “Ghastly, / with open eyes, he attends, blind.”\u003c/p>\n\u003cp>It’s this quality of existential unease, of being unable to either look away or end the source of discomfort, that curator Adrianne Ramsey had in mind while organizing \u003ci>\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>\u003c/i>, a 14-person group show of Black artists at Root Division. She began working on the show, which includes photography, textiles, painting and video, after the murder of George Floyd by a Minneapolis police officer in May 2020. \u003c/p>\n\u003cp>In her curatorial essay, Ramsey recalls how videos of the murder were circulating on social media without any warnings about shocking violence of the content. She points to more recent examples of “Black trauma porn,” like the leaked video of music mogul Sean Combs beating his then-girlfriend Cassie Ventura in a hotel.\u003c/p>\n\u003cfigure id=\"attachment_13961313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg\" alt=\"Three wall-mounted artworks on white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Michon Sander’s ‘Used To Issue Out A Warning’ at center. \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>With Open Eyes\u003c/i> is meant to be an opportunity for Black artists to tell their own stories, not ignoring all harm but allowing them to reframe “the narrative that said bodies only experience harm,” Ramsey writes. \u003c/p>\n\u003cp>Two oil paintings by local artist \u003ca href=\"https://michonsandersart.com/\">Michon Sanders\u003c/a> lovingly depict her ancestors in dignified moments of rest. In \u003ci>Arthur Brown (But We Called Him Big Papa)\u003c/i>, Sanders’ great-great grandfather, a man who lived in rural Florida until the early 1900s, looks tranquil, with close-cropped gray hair, a beard and mustache. The background is a royal purple, enhancing his regal bearing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Used To Issue Out A Warning\u003c/i> shows Sanders’ grandmother, who raised nine children, outside in a lawn chair, her hands folded over her belly. The title comes from the lyrics of Bill Withers’ “\u003ca href=\"https://youtu.be/TdrChyGb574?feature=shared\">Grandma’s Hands\u003c/a>,” in which hands caution as well as comfort. \u003c/p>\n\u003cp>Much of the work in the exhibition presents positive views of Black life, but it’s not a false positivity that ignores struggle. For example, in Bay Area artist \u003ca href=\"https://www.instagram.com/playdatephoto/\">Rohan DaCosta\u003c/a>’s arresting photo, \u003ci>Sistaz Outside\u003c/i>, two women are at the beach, one sipping orange juice out of a goblet and the other with a typewriter and a copy of Audre Lorde’s \u003ci>Sister Outsider\u003c/i>. Their obvious enjoyment in being together, children playing by the waves behind them, is juxtaposed with a rendering of a slave ship above their heads, a reminder of a brutal past.\u003c/p>\n\u003cfigure id=\"attachment_13961314\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg\" alt=\"Framed color photo of two women at beach with drawing of slave ship behind them\" width=\"2000\" height=\"2352\" class=\"size-full wp-image-13961314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1306x1536.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1741x2048.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1920x2258.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rohan DaCosta, ‘Sistaz Outside’ in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other pieces offer quieter scenes. Los Angeles artist \u003ca href=\"https://mayajunemansour.com/\">Maya June Mansour\u003c/a>’s photograph \u003ci>Dear Body, What’s The Score?\u003c/i> shows a woman in a white tub with her back to the viewer. We can see her face reflected in the mirror she holds. In \u003ci>I’m Still Here\u003c/i>, Mansour captures what seems to be a still life: a simple room with a wood-burning stove. On the stove sits a small mirror showing the same woman’s face. Both photos, ethereal and spare, evoke a feeling of calm. \u003c/p>\n\u003cp>\u003ci>With Open Eyes\u003c/i> also includes softness and humor. The former comes from \u003ca href=\"https://www.instagram.com/seraphimfairy/?hl=en\">Seraphina Perkins\u003c/a>’ small, colorful quilt embroidered with poetry, \u003ci>Softest Fruits of My Labor\u003c/i>, and the latter comes from \u003ca href=\"https://www.danadav.com/\">Dana Davenport\u003c/a>’s \u003ci>Beauty Supply ASMR\u003c/i>, a video showing fingers in front of a microphone, massaging various beauty supplies to create a crinkly, soothing sound.\u003c/p>\n\u003cfigure id=\"attachment_13961317\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg\" alt=\"Quilted textile work with dried branch hanging above\" width=\"2000\" height=\"2163\" class=\"size-full wp-image-13961317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1420x1536.jpg 1420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1894x2048.jpg 1894w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1920x2076.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Seraphina Perkins in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I walked through the show a few days before it opened, Oakland artist \u003ca href=\"https://www.eniolafakile.com/\">Eniola Fakile\u003c/a> was working on the show’s most speculative piece, \u003ci>Ijinle Omi (mysterious water)\u003c/i>, a physical manifestation of the artist’s invented, fantastical world. In \u003ci>Ijinle Omi\u003c/i>, a sea god distributes magical kelp to visitors in the form of blue, green and tan ceramic pieces — available to Root Division visitors for the taking.\u003c/p>\n\u003cp>“A lot of my practice is really just about finding ways to cope and deal with different feelings through world-building,” Fakile says. “I’m creating a mythology based off different cultures around the world, including my own.”\u003c/p>\n\u003cp>With works like this, whether the artists create their own worlds, or document the people and things important to them in our shared reality, the exhibition goes beyond depictions of collective pain, allowing viewers to open their eyes to a more expansive view of Black art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>’ is on view at Root Division (1131 Mission St., San Francisco) through Aug. 3, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Roxie, ‘Lyd’ Connects the Nakba to Today",
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"content": "\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-festival-napa-valley-pretty-yende-jonathan-tetelman-yang-bao-charles-krug",
"title": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards",
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"content": "\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison",
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"content": "\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>[aside postid='arts_13960599']The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13957481']By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>[aside postid='arts_13956038']For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A chilling, half-remembered encounter from childhood looms over \u003cem>Longlegs\u003c/em>, Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.\u003c/p>\n\u003cp>[aside postid='arts_13960378']In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OG7wOTE8NhE\u003c/p>\n\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a credit to the harrowingly spell-binding first half of\u003cem> Longlegs\u003c/em> — and to Monroe — that the film’s third act disappoints. After that prologue — presented in a boxy ratio with rounded edges, as if seen through an overhead projector — the screen widens. Harker, a terse, solitary detective, is part of a large task force to track down the killer behind the deaths of 10 families over the course of 30 years. Sent to knock on doors, she gazes up at a second floor window and knows immediately. “It’s that one,” she tells a partner (Dakota Daulby) whose lack of faith in her intuition quickly proves regrettable.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\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/OG7wOTE8NhE'\n title='//www.youtube.com/embed/OG7wOTE8NhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dionne Lee’s ‘Currents’ Offers a Taste of Searching Without a Destination",
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"content": "\u003cp>Dionne Lee’s art casts a spell.\u003c/p>\n\u003cp>My first encounter with her work, a few years ago, remains unforgettable. In addition to samplings of Lee’s signature brand of raw, no-frills darkroom photography, \u003ca href=\"https://etaletc.com/dionne-lee-castings\">the exhibition\u003c/a> included a sculpture made from strips of cotton fabric tied between two wooden dowels, the ends of which were balanced on stacks of rocks. The sagging fabric of the improvised stretcher hovered just barely above the floor. This delicate tension of the almost imperceptible space between edges was vertigo-inducing, mesmerizing.\u003c/p>\n\u003cp>Earlier this year, I encountered Lee’s work again, in the 2024 edition of the \u003ca href=\"https://whitney.org/exhibitions/2024-biennial\">Whitney Biennial\u003c/a>. That piece is a video showing the artist’s hands holding two dowsing rods — sticks used to locate groundwater — aimlessly wandering an expansive field. Again, the effect was transcendence, a meditative and intoxicating antidote to hype. \u003c/p>\n\u003cp>[aside postID='arts_13960799']Lee’s latest exhibition, \u003cem>\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>\u003c/em>, at the Mission District space Cushion Works, is a spare and spacious offering of three brief black-and-white videos and five silver gelatin prints, all untitled. The gallery space is dark; the videos play on CRT monitors on low pedestals, casting pools of light on the floor at their bases. The photos are small and individually spotlit. The presentation and the work are simultaneously restrained and expansive, an apt parallel to humanity’s fleeting existence within the geologic timescale versus our outsized impact on the planet.\u003c/p>\n\u003cfigure id=\"attachment_13960973\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg\" alt=\"white spiral against rocky background\" width=\"1440\" height=\"1080\" class=\"size-full wp-image-13960973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-768x576.jpeg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Lee, ‘Untitled,’ 2024; video (black and white, silent), 18:51 minutes, looping. \u003ccite>(Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the work in \u003cem>Currents\u003c/em> was made in collaboration with the natural environment, in a ravine a brief walk from Lee’s house in Columbus, Ohio, where she spends hours at a time documenting her performative gestures with a film camera and handheld camcorder. Only this documentation remains, the gestures themselves vanishing from the site of their creation almost immediately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The longest video, at around 19 minutes, features a handful of slow, panning shots, tracking a spiral of white string as it floats on the surface of a shallow creek. The camera cuts only when the string is on the verge of unraveling from its spiral form, which, spoiler alert, it does at the very end, stretching out across the water in a wavering line. This cycle of expansion and contraction, negotiating the limits of human control over the natural environment, is reminiscent of meditative breathing. The final shot is an exhalation, a relinquishing of control to Lee’s natural collaborator.\u003c/p>\n\u003cp>Another video is a static shot of a large, flat stone, over which Lee continually spins a forked stick like a dowsing rod or divination tool, its spinning shadow echoing the spiral motif. Her hand remains out of frame, occasionally flickering into view. Here again, the tension between human intervention and natural course is evident.\u003c/p>\n\u003cp>Lee’s practice hovers somewhere between a conservative brand of land art and performance documentation, in company with Andy Goldsworthy’s \u003ca href=\"https://www.artsy.net/artwork/andy-goldsworthy-hand-hit-site-dust-presidio-spire\">dust drawings\u003c/a>, Ana Mendieta’s \u003ca href=\"https://www.tate.org.uk/art/artworks/mendieta-grass-breathing-l04622\">impressions in grass\u003c/a> and Robert Smithson’s \u003ca href=\"https://www.fundacionjumex.org/en/programa/296-actividades-de-entrecruzamientos/overturned-rock\">photographs of overturned rocks\u003c/a> — all artworks that were eventually overtaken by nature.\u003c/p>\n\u003cfigure id=\"attachment_13960969\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg\" alt=\"two images, one of monitor with black-and-white video playing, the other of a photo print of a spiral painted with water on a rock\" width=\"2000\" height=\"1345\" class=\"size-full wp-image-13960969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1920x1291.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Dionne Lee’s video works and a silver gelatin print from the ‘Untitled Rock Drawing III’ series. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of three photographs, \u003cem>Untitled Rock Drawing III\u003c/em>, dot the gallery walls. Each shows a spiral drawn in water on the surface of a flat rock, the drawing fading more and more in the direct sunlight, leaving only the photographs behind. These pictures read almost like stills from a video in their own right, inviting the viewer to pace their own experience as they move through the gallery, activating Lee’s magic trick of manipulating time.\u003c/p>\n\u003cp>Lee recently participated in two projects connecting artists with the outdoors, which informed the work in Currents. The first was a \u003ca href=\"https://landarts.org/\">Land Arts of the American West\u003c/a> residency, which involved a two-month camping trip across the Southwest to famous land art locations — from Michael Heizer’s \u003cem>Double Negative\u003c/em> to Robert Smithson’s \u003cem>Spiral Jetty\u003c/em> — and a nuclear test site. She was also an “artist researcher” in \u003ca href=\"https://www.unseencalifornia.com/\">Unseen California\u003c/a>’s inaugural cohort, an initiative through the University of California Santa Cruz that “engages the public land of California as an outdoor artist studio and classroom laboratory.”\u003c/p>\n\u003cp>Lee says she’s still processing these experiences in her work. “I spent two months living outdoors and now I’m home and I’m drawing spirals on rocks,” she says, laughing.\u003c/p>\n\u003cp>And it’s this process of exploration and examination that the image of the spiral evokes, the circular logic of endless questioning turning in on itself.\u003c/p>\n\u003cp>“It’s not about finding anything,” Lee says. “It’s just about the act of searching or looking.”\u003c/p>\n\u003cfigure id=\"attachment_13960970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13960970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dionne Lee’s ‘Currents’ at Cushion Works. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lack of a clear destination doesn’t necessarily make a search purposeless.\u003c/p>\n\u003cp>One mystical parallel to this kind of artistic practice would be apophatic theology, also known as negative theology. The practice, common in Christian mysticism, attempts to define God by everything that they are not, the idea being that what remains in relief of the infinite “not” is the closest we can come to defining the divine.\u003c/p>\n\u003cp>Lee’s work evokes the sublime tradition in landscape art, an embodied conceptual experience “prioritizing another level of experience and understanding and knowledge,” she says. Here, it is cosmic and geological at once, containing both light years and deep time, expanding the definition of landscape photography to metaphysical considerations. The topographies in \u003cem>Currents\u003c/em> are the contours of a divine experience that borders the limits of human comprehension.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>’ is on view at Cushion Works (3320 18th St., San Francisco) through Aug. 10, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dionne Lee’s art casts a spell.\u003c/p>\n\u003cp>My first encounter with her work, a few years ago, remains unforgettable. In addition to samplings of Lee’s signature brand of raw, no-frills darkroom photography, \u003ca href=\"https://etaletc.com/dionne-lee-castings\">the exhibition\u003c/a> included a sculpture made from strips of cotton fabric tied between two wooden dowels, the ends of which were balanced on stacks of rocks. The sagging fabric of the improvised stretcher hovered just barely above the floor. This delicate tension of the almost imperceptible space between edges was vertigo-inducing, mesmerizing.\u003c/p>\n\u003cp>Earlier this year, I encountered Lee’s work again, in the 2024 edition of the \u003ca href=\"https://whitney.org/exhibitions/2024-biennial\">Whitney Biennial\u003c/a>. That piece is a video showing the artist’s hands holding two dowsing rods — sticks used to locate groundwater — aimlessly wandering an expansive field. Again, the effect was transcendence, a meditative and intoxicating antidote to hype. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lee’s latest exhibition, \u003cem>\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>\u003c/em>, at the Mission District space Cushion Works, is a spare and spacious offering of three brief black-and-white videos and five silver gelatin prints, all untitled. The gallery space is dark; the videos play on CRT monitors on low pedestals, casting pools of light on the floor at their bases. The photos are small and individually spotlit. The presentation and the work are simultaneously restrained and expansive, an apt parallel to humanity’s fleeting existence within the geologic timescale versus our outsized impact on the planet.\u003c/p>\n\u003cfigure id=\"attachment_13960973\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg\" alt=\"white spiral against rocky background\" width=\"1440\" height=\"1080\" class=\"size-full wp-image-13960973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CW-Dionne-Lee-Spirals-Still-01-768x576.jpeg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Lee, ‘Untitled,’ 2024; video (black and white, silent), 18:51 minutes, looping. \u003ccite>(Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the work in \u003cem>Currents\u003c/em> was made in collaboration with the natural environment, in a ravine a brief walk from Lee’s house in Columbus, Ohio, where she spends hours at a time documenting her performative gestures with a film camera and handheld camcorder. Only this documentation remains, the gestures themselves vanishing from the site of their creation almost immediately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The longest video, at around 19 minutes, features a handful of slow, panning shots, tracking a spiral of white string as it floats on the surface of a shallow creek. The camera cuts only when the string is on the verge of unraveling from its spiral form, which, spoiler alert, it does at the very end, stretching out across the water in a wavering line. This cycle of expansion and contraction, negotiating the limits of human control over the natural environment, is reminiscent of meditative breathing. The final shot is an exhalation, a relinquishing of control to Lee’s natural collaborator.\u003c/p>\n\u003cp>Another video is a static shot of a large, flat stone, over which Lee continually spins a forked stick like a dowsing rod or divination tool, its spinning shadow echoing the spiral motif. Her hand remains out of frame, occasionally flickering into view. Here again, the tension between human intervention and natural course is evident.\u003c/p>\n\u003cp>Lee’s practice hovers somewhere between a conservative brand of land art and performance documentation, in company with Andy Goldsworthy’s \u003ca href=\"https://www.artsy.net/artwork/andy-goldsworthy-hand-hit-site-dust-presidio-spire\">dust drawings\u003c/a>, Ana Mendieta’s \u003ca href=\"https://www.tate.org.uk/art/artworks/mendieta-grass-breathing-l04622\">impressions in grass\u003c/a> and Robert Smithson’s \u003ca href=\"https://www.fundacionjumex.org/en/programa/296-actividades-de-entrecruzamientos/overturned-rock\">photographs of overturned rocks\u003c/a> — all artworks that were eventually overtaken by nature.\u003c/p>\n\u003cfigure id=\"attachment_13960969\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg\" alt=\"two images, one of monitor with black-and-white video playing, the other of a photo print of a spiral painted with water on a rock\" width=\"2000\" height=\"1345\" class=\"size-full wp-image-13960969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_03_2000-1920x1291.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Dionne Lee’s video works and a silver gelatin print from the ‘Untitled Rock Drawing III’ series. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of three photographs, \u003cem>Untitled Rock Drawing III\u003c/em>, dot the gallery walls. Each shows a spiral drawn in water on the surface of a flat rock, the drawing fading more and more in the direct sunlight, leaving only the photographs behind. These pictures read almost like stills from a video in their own right, inviting the viewer to pace their own experience as they move through the gallery, activating Lee’s magic trick of manipulating time.\u003c/p>\n\u003cp>Lee recently participated in two projects connecting artists with the outdoors, which informed the work in Currents. The first was a \u003ca href=\"https://landarts.org/\">Land Arts of the American West\u003c/a> residency, which involved a two-month camping trip across the Southwest to famous land art locations — from Michael Heizer’s \u003cem>Double Negative\u003c/em> to Robert Smithson’s \u003cem>Spiral Jetty\u003c/em> — and a nuclear test site. She was also an “artist researcher” in \u003ca href=\"https://www.unseencalifornia.com/\">Unseen California\u003c/a>’s inaugural cohort, an initiative through the University of California Santa Cruz that “engages the public land of California as an outdoor artist studio and classroom laboratory.”\u003c/p>\n\u003cp>Lee says she’s still processing these experiences in her work. “I spent two months living outdoors and now I’m home and I’m drawing spirals on rocks,” she says, laughing.\u003c/p>\n\u003cp>And it’s this process of exploration and examination that the image of the spiral evokes, the circular logic of endless questioning turning in on itself.\u003c/p>\n\u003cp>“It’s not about finding anything,” Lee says. “It’s just about the act of searching or looking.”\u003c/p>\n\u003cfigure id=\"attachment_13960970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13960970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2024_0701-CW-DL_07_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dionne Lee’s ‘Currents’ at Cushion Works. \u003ccite>(Photos by Phillip Maisel; Courtesy the artist and Cushion Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lack of a clear destination doesn’t necessarily make a search purposeless.\u003c/p>\n\u003cp>One mystical parallel to this kind of artistic practice would be apophatic theology, also known as negative theology. The practice, common in Christian mysticism, attempts to define God by everything that they are not, the idea being that what remains in relief of the infinite “not” is the closest we can come to defining the divine.\u003c/p>\n\u003cp>Lee’s work evokes the sublime tradition in landscape art, an embodied conceptual experience “prioritizing another level of experience and understanding and knowledge,” she says. Here, it is cosmic and geological at once, containing both light years and deep time, expanding the definition of landscape photography to metaphysical considerations. The topographies in \u003cem>Currents\u003c/em> are the contours of a divine experience that borders the limits of human comprehension.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.cushionworks.info/exhibitions/dionne-lee-currents\">Currents\u003c/a>’ is on view at Cushion Works (3320 18th St., San Francisco) through Aug. 10, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>[aside postid='arts_13959918']Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8&t=21s\u003c/p>\n\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>[aside postid='arts_13960471']Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>[aside postid='arts_13956604']Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>[aside postid='arts_13960206']Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. [aside postid='arts_13959969']\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is better than it looks.\u003c/p>\n\u003cp>This is not a slam against the marketing campaign for the space race rom-com about a straight-laced NASA man and the Madison Avenue marketing savant brought in to sell the mission to the moon. It’s more about the state of theatrical moviegoing.\u003c/p>\n\u003cp>A film like this, with legitimate movie stars in Scarlett Johansson and Channing Tatum, a slick, glossy look, an original concept, and a sparkling title, is not a commonly occurring phenomenon at the local cineplex. We’ve been conditioned to see something like this and assume one of two things: It’s the product of a high-spending streamer, or it’s fake, like one of those movies-within-a-movie that’s mostly there for laughs but also at least somewhat plausible.\u003c/p>\n\u003cp>[aside postid='arts_13960462']Both assumptions are on point, but the former is essentially true: This is an Apple production that like \u003cem>Napoleon\u003c/em> and \u003cem>Killers of the Flower Moon\u003c/em> is going to theaters first, on Friday, through a traditional studio (Sony’s Columbia Pictures). It’s not just a gesture to theaters either — its streaming date has yet to even be announced.\u003c/p>\n\u003cp>The director is television veteran Greg Berlanti, whose films include \u003cem>Love, Simon\u003c/em> and \u003cem>Life as We Know It\u003c/em>. Here he seems to have taken a stylistic and tonal page from Peyton Reed’s \u003cem>Down with Love\u003c/em>, that 1960s via 2003 Rock Hudson/Doris Day pastiche starring Renée Zellweger and Ewan McGregor. The script, by Rose Gilroy and story, by Bill Kirstein and Keenan Flynn, is lighthearted and breezy with a pleasing screwball energy, giving Johansson the opportunity to use the full wattage of her movie star power as the shrewd, self-made Kelly Jones. She’s a kind of female Don Draper minus the melancholy and dalliances, but with some secret baggage and the ability to charm and persuade just about anyone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>If you make it past the opening montage, a cringey history lesson that has all the depth and nuance of a half-page, single-space elementary school report on the space race, you’re in for a mostly pleasant, if meandering, ride compliments of Johansson, who produced, Tatum and a talented roster of supporting actors (Woody Harrelson, Ray Romano, Jim Rash).\u003c/p>\n\u003cp>Tatum might be a little miscast as the NASA launch director (and Korean War vet) Cole Davis. Though he is a good match for Johansson and the bevy of knit sweaters he sports throughout, his portrayal makes Cole too instantly likeable for there to be any sort of dramatic stakes or tension. Whether this was a miscalculation on the script level, the direction or the casting is hard to say. But there is no will-they-won’t-they, only when-will-they, which is not compelling storytelling when your runtime stretches over two hours.\u003c/p>\n\u003cp>This is a movie that is in no rush to get anywhere fast. In fact, the main selling point of the trailer, that Kelly has been hired to stage a fake moon landing in case anything goes wrong with Apollo 11, isn’t even introduced until deep into the film. It’s not the point of the story at all, just an aspect of it, which is a little disorienting during a first-time viewing.\u003c/p>\n\u003cp>[aside postid='arts_13960332']Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
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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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you make it past the opening montage, a cringey history lesson that has all the depth and nuance of a half-page, single-space elementary school report on the space race, you’re in for a mostly pleasant, if meandering, ride compliments of Johansson, who produced, Tatum and a talented roster of supporting actors (Woody Harrelson, Ray Romano, Jim Rash).\u003c/p>\n\u003cp>Tatum might be a little miscast as the NASA launch director (and Korean War vet) Cole Davis. Though he is a good match for Johansson and the bevy of knit sweaters he sports throughout, his portrayal makes Cole too instantly likeable for there to be any sort of dramatic stakes or tension. Whether this was a miscalculation on the script level, the direction or the casting is hard to say. But there is no will-they-won’t-they, only when-will-they, which is not compelling storytelling when your runtime stretches over two hours.\u003c/p>\n\u003cp>This is a movie that is in no rush to get anywhere fast. In fact, the main selling point of the trailer, that Kelly has been hired to stage a fake moon landing in case anything goes wrong with Apollo 11, isn’t even introduced until deep into the film. It’s not the point of the story at all, just an aspect of it, which is a little disorienting during a first-time viewing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Shows at the Mission District gallery \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a> are usually spare by necessity: the storefront space is a mere 350 square feet. This is absolutely a good thing. A spare show gives art room to breathe. It makes small details pop. Viewers linger to chat and soak it all in. (The one downside to a spare show is that it looks completely underwhelming in photographs, but that’s neither the fault of the art nor its arrangement.)\u003c/p>\n\u003cp>In House of Seiko’s latest exhibition, \u003ca href=\"https://www.instagram.com/crosslypka/\">Cross Lypka\u003c/a>’s \u003ci>\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>\u003c/i>, just four ceramic works hang on the gallery’s white walls. Created through a process of exquisite-corpse-like collaboration by Oakland artists Tyler Cross and Kyle Lypka, the sculptures are airy paintings made chunky, an alchemical fusion of delicacy and solidity. \u003c/p>\n\u003cp>It starts with a drawing, sometimes just the outline of a shape, often made by Cross. Lypka selects from these glyphs and hand-builds a three-dimensional object from clay. Cross applies the glaze, using a mixture of glass and other additives that run and pool according to the vicissitudes of gravity and heat. The pieces are fired in a bed of sand that fuses with the overflowing molten mixture, creating an encrusted skirt on an otherwise smooth finish. Then, the artists apply surface treatments and sealants.\u003c/p>\n\u003cfigure id=\"attachment_13960808\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg\" alt=\"Two images, one of slim vertical abstract ceramic sculpture on white wall, other of book-like ceramic sculpture on wall\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13960808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cross Lypka, ‘TiiJ,’ 2024 and ‘Thunderhead,’ 2024. \u003ccite>(House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Up close, their undulating ceramic objects — in this show, all wall-hanging works — are covered in fine networks of crackle. Some glazes render colors as if they lie at the bottom of clear pools. Others resemble the watercolor-esque stain paintings of Helen Frankenthaler (and her copyist, Morris Louis). \u003c/p>\n\u003cp>While Cross Lypka’s \u003ca href=\"https://www.blunkspace.com/gravity-corner\">previous exhibitions\u003c/a> have included more vessel-like sculptures, \u003ci>Tarantula\u003c/i> resembles a set of architectural fragments that could have been pried off a rotting Victorian down the street. There are nods to cornices and crown molding. These are mysterious ornaments removed from any set purpose and showing signs of elemental wear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>TiiJ\u003c/i>, the show’s largest work, stretches nearly the entire length of the floor to ceiling, seven feet tall. It’s a column in four parts, with two mirrored groves running top to bottom, channels for bright yellow and lurid green glaze. \u003c/p>\n\u003cp>This color combination reappears in \u003ci>h.e.r.d.\u003c/i>, now flowing between bookends of madder lake red. \u003ci>h.e.r.d.\u003c/i>’s shape, slightly reminiscent of a hymnal board, protrudes along a vertical center line, like the negative shape formed by an open book. \u003c/p>\n\u003cfigure id=\"attachment_13960809\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg\" alt=\"White gallery walls with three abstract ceramic sculptures hanging, one that wraps around a protruding corner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Cross Lypka’s ‘Tarantula’ at House of Seiko. \u003ccite>(House of Seiko )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its positive hangs diagonally opposite; \u003ci>Thunderhead\u003c/i>, with ruffled chanterelle edges, is the most organic of the bunch. If these reflected, Rorschach test sculptures are illuminated manuscripts, then \u003ci>vVVVv\u003c/i>, a piece that wraps in four segments around House of Seiko’s one architectural oddity (a slight bump-out in one corner), is an accordion-fold book, hinged across three right angles. \u003c/p>\n\u003cp>I like this book simile because it gets at the multistep and transformative process by which these objects are made. Cross’ initial drawings become flat covers. Lypka’s extrapolations pad out the silhouettes, filling the book with pages and substance. The glass and glaze: text and illustration. Firing it all in the kiln, solidifying and fusing particulate matter — that’s the binding. \u003c/p>\n\u003cp>What doesn’t quite fit into this retelling is the sandy residue on each sculpture’s back edge. This detail makes the sculptures more archeological than literary, as if rescued from the sea with a colony of barnacles attached. Books would never.\u003c/p>\n\u003cp>So maybe the works in \u003ci>Tarantula\u003c/i> aren’t books. They’re already the result of a collaboration between a painter and a ceramicist. I truly don’t need to throw another art form into the mix. This temptation comes from their ethereal quality of being a third thing: wet but hardened; crisp but handmade; taking up space, but gesturing, always, at what might fit around them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco) through Aug. 11, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shows at the Mission District gallery \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a> are usually spare by necessity: the storefront space is a mere 350 square feet. This is absolutely a good thing. A spare show gives art room to breathe. It makes small details pop. Viewers linger to chat and soak it all in. (The one downside to a spare show is that it looks completely underwhelming in photographs, but that’s neither the fault of the art nor its arrangement.)\u003c/p>\n\u003cp>In House of Seiko’s latest exhibition, \u003ca href=\"https://www.instagram.com/crosslypka/\">Cross Lypka\u003c/a>’s \u003ci>\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>\u003c/i>, just four ceramic works hang on the gallery’s white walls. Created through a process of exquisite-corpse-like collaboration by Oakland artists Tyler Cross and Kyle Lypka, the sculptures are airy paintings made chunky, an alchemical fusion of delicacy and solidity. \u003c/p>\n\u003cp>It starts with a drawing, sometimes just the outline of a shape, often made by Cross. Lypka selects from these glyphs and hand-builds a three-dimensional object from clay. Cross applies the glaze, using a mixture of glass and other additives that run and pool according to the vicissitudes of gravity and heat. The pieces are fired in a bed of sand that fuses with the overflowing molten mixture, creating an encrusted skirt on an otherwise smooth finish. Then, the artists apply surface treatments and sealants.\u003c/p>\n\u003cfigure id=\"attachment_13960808\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg\" alt=\"Two images, one of slim vertical abstract ceramic sculpture on white wall, other of book-like ceramic sculpture on wall\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13960808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0015_2000-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cross Lypka, ‘TiiJ,’ 2024 and ‘Thunderhead,’ 2024. \u003ccite>(House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Up close, their undulating ceramic objects — in this show, all wall-hanging works — are covered in fine networks of crackle. Some glazes render colors as if they lie at the bottom of clear pools. Others resemble the watercolor-esque stain paintings of Helen Frankenthaler (and her copyist, Morris Louis). \u003c/p>\n\u003cp>While Cross Lypka’s \u003ca href=\"https://www.blunkspace.com/gravity-corner\">previous exhibitions\u003c/a> have included more vessel-like sculptures, \u003ci>Tarantula\u003c/i> resembles a set of architectural fragments that could have been pried off a rotting Victorian down the street. There are nods to cornices and crown molding. These are mysterious ornaments removed from any set purpose and showing signs of elemental wear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>TiiJ\u003c/i>, the show’s largest work, stretches nearly the entire length of the floor to ceiling, seven feet tall. It’s a column in four parts, with two mirrored groves running top to bottom, channels for bright yellow and lurid green glaze. \u003c/p>\n\u003cp>This color combination reappears in \u003ci>h.e.r.d.\u003c/i>, now flowing between bookends of madder lake red. \u003ci>h.e.r.d.\u003c/i>’s shape, slightly reminiscent of a hymnal board, protrudes along a vertical center line, like the negative shape formed by an open book. \u003c/p>\n\u003cfigure id=\"attachment_13960809\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg\" alt=\"White gallery walls with three abstract ceramic sculptures hanging, one that wraps around a protruding corner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/House_of_Seiko_Tyler_Cross_Kyle_Lypka_install_hires_V2_0026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Cross Lypka’s ‘Tarantula’ at House of Seiko. \u003ccite>(House of Seiko )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its positive hangs diagonally opposite; \u003ci>Thunderhead\u003c/i>, with ruffled chanterelle edges, is the most organic of the bunch. If these reflected, Rorschach test sculptures are illuminated manuscripts, then \u003ci>vVVVv\u003c/i>, a piece that wraps in four segments around House of Seiko’s one architectural oddity (a slight bump-out in one corner), is an accordion-fold book, hinged across three right angles. \u003c/p>\n\u003cp>I like this book simile because it gets at the multistep and transformative process by which these objects are made. Cross’ initial drawings become flat covers. Lypka’s extrapolations pad out the silhouettes, filling the book with pages and substance. The glass and glaze: text and illustration. Firing it all in the kiln, solidifying and fusing particulate matter — that’s the binding. \u003c/p>\n\u003cp>What doesn’t quite fit into this retelling is the sandy residue on each sculpture’s back edge. This detail makes the sculptures more archeological than literary, as if rescued from the sea with a colony of barnacles attached. Books would never.\u003c/p>\n\u003cp>So maybe the works in \u003ci>Tarantula\u003c/i> aren’t books. They’re already the result of a collaboration between a painter and a ceramicist. I truly don’t need to throw another art form into the mix. This temptation comes from their ethereal quality of being a third thing: wet but hardened; crisp but handmade; taking up space, but gesturing, always, at what might fit around them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://houseofseiko.info/present\">Tarantula\u003c/a>’ is on view at House of Seiko (3109 22nd St., San Francisco) through Aug. 11, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kate-quinn-returns-with-the-briar-club-a-murder-mystery-during-the-1950s-red-scare",
"title": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare",
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"headTitle": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare | KQED",
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"content": "\u003cfigure id=\"attachment_13960704\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png\" alt=\"A book cover with a key hole on it.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Briar Club’ by Kate Quinn. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never read a Kate Quinn novel, there’s no time like the present. Or like the 1950s in Washington, D.C. That’s the setting for Quinn’s \u003cem>The Briar Club\u003c/em>, which is a murder mystery wrapped up in the stories of multiple women who rent rooms at a boarding house during the height of Sen. Joseph McCarthy’s Red Scare.\u003c/p>\n\u003cp>The characters are all interesting, but too numerous to sketch in this short review. Each gives Quinn an opportunity to comment on some aspect of the decade — from the development of the birth control pill, to organized crime corrupting the D.C. police force, to the demise of a professional women’s softball league after World War II. All the women’s stories serve the novel’s greater plot, which opens with a murder in the house on Thanksgiving Day in 1954. It then flips backward and forward in time, crashing the characters together and creating plenty of suspects before ending with a delightful twist.\u003c/p>\n\u003cp>[aside postid='arts_13960473']At the center of the plot is Grace March, who moves into the third-floor attic of the Briarwood boarding house and, over the objections of the stern landlady, Mrs. Nilsson, begins to make the place a real home. She paints flowers and vines on her ceiling that eventually creep down the staircase and are a metaphor for the role Grace plays in the boarders’ lives. She starts a Thursday night Supper Club, inviting everyone to bring a dish to warm up on her hot plate and share.\u003c/p>\n\u003cp>Quinn tosses in a couple cute wrinkles that make the book even more fun. One is the inclusion of actual recipes for the dishes and drinks the women bring to supper club. In promotional interviews in advance of the novel’s release, Quinn admitted that her husband actually prepared all the food and drink for her to taste prior to publication. Also unique to the novel — short chapters written from the point of view of the house itself. As a detective moves to split up the the women for interrogation following the Thanksgiving day murder, Quinn writes: “He moves into the kitchen, at once the object of all eyes, and just to be spiteful the house rucks the edge of the carpet so he trips.”\u003c/p>\n\u003cp>It all makes for a delightful read. Quinn creates characters readers will care about and root for, while also managing to keep them guessing until the very end about who murdered whom in Briarwood House.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Briar Club’ by Kate Quinn is out on July 9, 2024, via William Morrow.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960704\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png\" alt=\"A book cover with a key hole on it.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Briar Club’ by Kate Quinn. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never read a Kate Quinn novel, there’s no time like the present. Or like the 1950s in Washington, D.C. That’s the setting for Quinn’s \u003cem>The Briar Club\u003c/em>, which is a murder mystery wrapped up in the stories of multiple women who rent rooms at a boarding house during the height of Sen. Joseph McCarthy’s Red Scare.\u003c/p>\n\u003cp>The characters are all interesting, but too numerous to sketch in this short review. Each gives Quinn an opportunity to comment on some aspect of the decade — from the development of the birth control pill, to organized crime corrupting the D.C. police force, to the demise of a professional women’s softball league after World War II. All the women’s stories serve the novel’s greater plot, which opens with a murder in the house on Thanksgiving Day in 1954. It then flips backward and forward in time, crashing the characters together and creating plenty of suspects before ending with a delightful twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the plot is Grace March, who moves into the third-floor attic of the Briarwood boarding house and, over the objections of the stern landlady, Mrs. Nilsson, begins to make the place a real home. She paints flowers and vines on her ceiling that eventually creep down the staircase and are a metaphor for the role Grace plays in the boarders’ lives. She starts a Thursday night Supper Club, inviting everyone to bring a dish to warm up on her hot plate and share.\u003c/p>\n\u003cp>Quinn tosses in a couple cute wrinkles that make the book even more fun. One is the inclusion of actual recipes for the dishes and drinks the women bring to supper club. In promotional interviews in advance of the novel’s release, Quinn admitted that her husband actually prepared all the food and drink for her to taste prior to publication. Also unique to the novel — short chapters written from the point of view of the house itself. As a detective moves to split up the the women for interrogation following the Thanksgiving day murder, Quinn writes: “He moves into the kitchen, at once the object of all eyes, and just to be spiteful the house rucks the edge of the carpet so he trips.”\u003c/p>\n\u003cp>It all makes for a delightful read. Quinn creates characters readers will care about and root for, while also managing to keep them guessing until the very end about who murdered whom in Briarwood House.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Briar Club’ by Kate Quinn is out on July 9, 2024, via William Morrow.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Family separation comes in many forms. Some, more obvious than others. Separation caused by \u003ca href=\"https://www.npr.org/2024/06/04/nx-s1-4991917/biden-executive-order-asylum-migration-border\">immigration policies\u003c/a> is currently top of mind for many North and South Americans, but that’s only one element at play in Napa-based artist Arleene Correa Valencia’s most recent exhibition, \u003cem>\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us With You\u003c/a>\u003c/em> at the Bolinas Museum.\u003c/p>\n\u003cp>[aside postID='arts_13957410']“I’ve spent my entire life searching for a physical home,” says Correa Valencia, who immigrated to the United States from Mexico at a young age. “I’m learning that maybe home is family.” For the artist, who isn’t able to have children of her own, the work in the show is also about that loss of legacy.\u003c/p>\n\u003cp>The exhibition features three interrelated bodies of work: textiles, copperplate prints and repurposed family documents — all of which either include or reference the artist’s family photographs and letters, as well as cultural traditions passed down through generations. For Correa Valencia, making art in collaboration and communion with family members serves as a way of preserving their connection.\u003c/p>\n\u003cp>Selections of family ephemera are framed in parings of snapshots and letters written by a young Correa Valencia, her mother and brother in Michoacán, to her father in the United States. The artist recalls her mother holding her hand to help her write the letters, and thinks of them as her earliest works of art. This posits separation as a genesis, the beginning of Correa Valencia’s own immigration journey and art practice.\u003c/p>\n\u003cfigure id=\"attachment_13960510\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg\" alt=\"four framed textile pieces and one large tapestry in white wall gallery space\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, photographs have been translated into black-and-white copperplate prints with additional etchings and embroideries decorating the images. These prints also feature lengthy, poetic titles, passages of text cherry-picked from the family correspondences. With their context slightly altered, they become lyric poems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A print of a man in shorts and a striped shirt, embroidered with a flower and featuring an etching of a Mayan deity, features a title telling the story of a man dying in the trunk of a car while attempting to cross the border. The text is a startling juxtaposition to an image so full of life, suggesting the ambient violence circulating the immigrant experience in the Americas.\u003c/p>\n\u003cp>Another print of a young Correa Valencia and her brother is adorned with an etching inspired by her brother’s chest tattoo. The title is a message from their mother imploring their father to care for them if anything should happen to her, especially “our baby girl.” Here again, the text creates an unconscious layer to the images, infusing it with a complex pathos.\u003c/p>\n\u003cp>The majority of the exhibition consists of 14 brightly colored wall-hanging textiles, varied in size, embroidered with figurative outlines also based on family photographs.\u003c/p>\n\u003cp>“I call them paintings,” says Correa Valencia, who trained as an oil painter through graduate school and only recently took up textile work. She learned the medium from her mother-in-law during the months of the pandemic lockdown; the pieces weave together intricate references to culture and community.\u003c/p>\n\u003cfigure id=\"attachment_13960511\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg\" alt=\"six framed textile pieces on white wall\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, the background fabric Correa Valencia adorns with her illustrations is a textile purchased in El Salvador or Mexico — or, in the case of the smaller works, tortilla napkins taken from family members’ kitchens. Many of the figures’ clothes are made from actual articles of clothing.\u003c/p>\n\u003cp>In both \u003cem>Absent\u003c/em> and \u003cem>Present\u003c/em>, embroideries on large Salvadoran fabrics featuring geometric patterns, a figure holds a child in their arms. In \u003cem>Present\u003c/em>, the adult figure is filled in with a patterned fabric, while in Absent both adult and child dissolve against the background as ghostly outlines of white thread.\u003c/p>\n\u003cp>One of the largest textiles, \u003cem>Captured: Birds in Flight\u003c/em>, features a two-toned blue background with the outlined figures of three children dressed in repurposed family clothing. Two girls pose playfully while a boy wearing the El Salvador coat of arms reaches both hands up in a dramatic gesture of surrender. Three birds, embroidered in a traditional Salvadoran decorative style, circle overhead.\u003c/p>\n\u003cp>[aside postID='arts_13867062']The lack of recognizable traits and facial features in the figures creates a sense of distance and disappearance. I get the same feeling of nostalgia when I look at a faded photograph. Correa Valencia’s works summons the intimate yearning of straining to recall a hazy memory.\u003c/p>\n\u003cp>In seamless collaboration, she blends her own embellishments into the tortilla napkins’ preexisting floral embroideries. \u003cem>Mei Mei\u003c/em> shows a woman in an N-95 mask cradling a baby, the figure sprouting from the center of a decorative flower. The image is inspired by a photo of Correa Valencia holding her niece, and it’s stitched into a napkin handmade by one of the artist’s own childhood caretakers.\u003c/p>\n\u003cp>Correa Valencia’s show made me think of the ways thread is activated in the service of memory. We tie string around our fingers to remember things. In myths across cultures, people are connected by red thread, its delicacy underscoring tenuous ties — and the ease of forgetting.\u003c/p>\n\u003cp>It also reminded me of the poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28891/separation-56d21285b2140\">Separation\u003c/a>” by W. S. Merwin: “Your absence has gone through me / Like thread through a needle. / Everything I do is stitched with its color.”\u003c/p>\n\u003cp>\u003cem>Llévanos Contigo / Take Us With You\u003c/em> makes good on Merwin’s promise that absence and presence are two sides of the same coin. Correa Valencia’s invocations of family are a celebration of connection as much as they anticipate inevitable separation — like a stitch that doubles back on itself. These aren’t threads that tie up in a neat bow, but they might be lifelines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us with You\u003c/a>’ is on view at the Bolinas Museum (48 Wharf Rd., Bolinas) through Aug. 4, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve spent my entire life searching for a physical home,” says Correa Valencia, who immigrated to the United States from Mexico at a young age. “I’m learning that maybe home is family.” For the artist, who isn’t able to have children of her own, the work in the show is also about that loss of legacy.\u003c/p>\n\u003cp>The exhibition features three interrelated bodies of work: textiles, copperplate prints and repurposed family documents — all of which either include or reference the artist’s family photographs and letters, as well as cultural traditions passed down through generations. For Correa Valencia, making art in collaboration and communion with family members serves as a way of preserving their connection.\u003c/p>\n\u003cp>Selections of family ephemera are framed in parings of snapshots and letters written by a young Correa Valencia, her mother and brother in Michoacán, to her father in the United States. The artist recalls her mother holding her hand to help her write the letters, and thinks of them as her earliest works of art. This posits separation as a genesis, the beginning of Correa Valencia’s own immigration journey and art practice.\u003c/p>\n\u003cfigure id=\"attachment_13960510\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg\" alt=\"four framed textile pieces and one large tapestry in white wall gallery space\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6700-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, photographs have been translated into black-and-white copperplate prints with additional etchings and embroideries decorating the images. These prints also feature lengthy, poetic titles, passages of text cherry-picked from the family correspondences. With their context slightly altered, they become lyric poems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A print of a man in shorts and a striped shirt, embroidered with a flower and featuring an etching of a Mayan deity, features a title telling the story of a man dying in the trunk of a car while attempting to cross the border. The text is a startling juxtaposition to an image so full of life, suggesting the ambient violence circulating the immigrant experience in the Americas.\u003c/p>\n\u003cp>Another print of a young Correa Valencia and her brother is adorned with an etching inspired by her brother’s chest tattoo. The title is a message from their mother imploring their father to care for them if anything should happen to her, especially “our baby girl.” Here again, the text creates an unconscious layer to the images, infusing it with a complex pathos.\u003c/p>\n\u003cp>The majority of the exhibition consists of 14 brightly colored wall-hanging textiles, varied in size, embroidered with figurative outlines also based on family photographs.\u003c/p>\n\u003cp>“I call them paintings,” says Correa Valencia, who trained as an oil painter through graduate school and only recently took up textile work. She learned the medium from her mother-in-law during the months of the pandemic lockdown; the pieces weave together intricate references to culture and community.\u003c/p>\n\u003cfigure id=\"attachment_13960511\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg\" alt=\"six framed textile pieces on white wall\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13960511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_06_19_BoMu6705-768x576.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Arleene Correa Valencia’s Bolinas Museum show ‘Llévanos Contigo / Take Us With You.’ \u003ccite>(Courtesy Bolinas Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, the background fabric Correa Valencia adorns with her illustrations is a textile purchased in El Salvador or Mexico — or, in the case of the smaller works, tortilla napkins taken from family members’ kitchens. Many of the figures’ clothes are made from actual articles of clothing.\u003c/p>\n\u003cp>In both \u003cem>Absent\u003c/em> and \u003cem>Present\u003c/em>, embroideries on large Salvadoran fabrics featuring geometric patterns, a figure holds a child in their arms. In \u003cem>Present\u003c/em>, the adult figure is filled in with a patterned fabric, while in Absent both adult and child dissolve against the background as ghostly outlines of white thread.\u003c/p>\n\u003cp>One of the largest textiles, \u003cem>Captured: Birds in Flight\u003c/em>, features a two-toned blue background with the outlined figures of three children dressed in repurposed family clothing. Two girls pose playfully while a boy wearing the El Salvador coat of arms reaches both hands up in a dramatic gesture of surrender. Three birds, embroidered in a traditional Salvadoran decorative style, circle overhead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The lack of recognizable traits and facial features in the figures creates a sense of distance and disappearance. I get the same feeling of nostalgia when I look at a faded photograph. Correa Valencia’s works summons the intimate yearning of straining to recall a hazy memory.\u003c/p>\n\u003cp>In seamless collaboration, she blends her own embellishments into the tortilla napkins’ preexisting floral embroideries. \u003cem>Mei Mei\u003c/em> shows a woman in an N-95 mask cradling a baby, the figure sprouting from the center of a decorative flower. The image is inspired by a photo of Correa Valencia holding her niece, and it’s stitched into a napkin handmade by one of the artist’s own childhood caretakers.\u003c/p>\n\u003cp>Correa Valencia’s show made me think of the ways thread is activated in the service of memory. We tie string around our fingers to remember things. In myths across cultures, people are connected by red thread, its delicacy underscoring tenuous ties — and the ease of forgetting.\u003c/p>\n\u003cp>It also reminded me of the poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28891/separation-56d21285b2140\">Separation\u003c/a>” by W. S. Merwin: “Your absence has gone through me / Like thread through a needle. / Everything I do is stitched with its color.”\u003c/p>\n\u003cp>\u003cem>Llévanos Contigo / Take Us With You\u003c/em> makes good on Merwin’s promise that absence and presence are two sides of the same coin. Correa Valencia’s invocations of family are a celebration of connection as much as they anticipate inevitable separation — like a stitch that doubles back on itself. These aren’t threads that tie up in a neat bow, but they might be lifelines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/arleene-correa-valenica/\">Llévanos Contigo / Take Us with You\u003c/a>’ is on view at the Bolinas Museum (48 Wharf Rd., Bolinas) through Aug. 4, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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