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"title": "A Look Back At Trayvon Martin's Death, And The Movement It Inspired",
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"content": "\u003cp>Most of us remember the broad outlines of the story: 17-year-old Trayvon Martin was followed, shot and killed by neighborhood watchman George Zimmerman in Sanford, Fla., on the night of Feb. 26, 2012.\u003c/p>\n\u003cp>More than six weeks later, Zimmerman was arrested and, eventually, tried for second-degree murder in a case that would be as racially polarizing as the O.J. Simpson trial had been nearly 20 years earlier.\u003c/p>\n\u003cp>Filmmakers Julia Willoughby Nason and Jenner Furst (the duo also did \u003cem>Time: The Kalief Browder Story\u003c/em>) thought it was important to revisit Martin’s death, Zimmerman’s trial and the effect that Florida’s \u003ca href=\"https://www.npr.org/2013/01/02/167984117/-stand-your-ground-linked-to-increase-in-homicide\">Stand Your Ground\u003c/a> law had on both. The result is a six-episode series, \u003cem>Rest in Power: The Trayvon Martin Story\u003c/em>, which airs on the Paramount Network through early September.\u003c/p>\n\u003cp>In the beginning, as the series shows, there was a lot of sympathy for Trayvon’s death. Even people like Donald Trump and (then) Fox News host Bill O’Reilly thought the loss of the 17 year-old was, in Trump’s words, “terrible.”\u003c/p>\n\u003cp>Until Barack Obama, who often was famously reluctant to speak to the country on issues of race, decided to weigh in. “Obviously, this is a tragedy. I can only imagine what these parents are going through,” Obama said in his trademark measured cadence. “And when I think about this boy, I think about my own kids.” Then, after speaking about the importance of letting the investigation run its course he said this: “You know, if I had a son, he’d look like Trayvon … ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>From victim to villain\u003c/strong>\u003c/p>\n\u003cp>The series tells how those few words turned George Zimmerman from a stalker-y adult into a victim, a person who was being (metaphorically speaking), beaten up by the most powerful man in the world. “Zimmerman is not being treated fairly,” O’Reilly said on Fox.\u003c/p>\n\u003cp>“Now, George Zimmerman was the victim of a president who was overreaching,” says director Jenner Furst.\u003c/p>\n\u003cp>Stories began to leak out: Trayvon had been skipping school. He’d been suspended for writing “WTF” on a hallway locker. Trace amounts of THC, the chemical that usually indicates marijuana, had been found in his system, according to a forensic report. Suddeny he wasn’t the sweet-faced 17-year-old with the impish sense of humor, he was a Bad Guy.\u003c/p>\n\u003cp>“Trayvon was the victim in this case,” his father, Tracy Martin, told NPR. “They tried to make him the villain in this case.”\u003c/p>\n\u003cp>And not just Trayvon. During the initial jury questioning, Tracy Martin and his ex-wife, Sybrina Fulton were criticized, too.\u003c/p>\n\u003cp>“Being a single parent with two boys of my own,” one potential juror said during questioning, “I don’t want to judge, but I just want to say this could have been prevented had he not been up here.”\u003c/p>\n\u003cp>As the trial went on, the atmosphere in Sanford became even more charged and polarized. White nationalists and the alt-right adopted Zimmerman’s cause, seeing in him a martyr being sacrificed on the altar of political correctness. Protestors for racial justice marched, and clashed with them. The scene bristled with satellite dishes, high on their stalks that took everything in like heavy-headed sunflowers.\u003c/p>\n\u003cp>\u003cstrong>The NRA and Stand Your Ground\u003c/strong>\u003c/p>\n\u003cp>Florida’s \u003ca href=\"https://www.npr.org/2012/03/20/149014228/a-history-of-stand-your-ground-law-in-florida\">Stand Your Ground\u003c/a> law is the character that’s unseen, but very much felt in this series. “I think that it’s very shocking to examine how a lobbying entity was able to rewrite the definition of murder in this country, and how Florida was used as a laboratory to explore these gun laws, which are now commonplace in America,” says director Jenner Furst.\u003c/p>\n\u003cp>The NRA declined to talk to him and co-director Julia Nason. The organization remains a strong supporter of Stand Your Ground laws and \u003ca href=\"https://www.theguardian.com/world/2012/may/02/nra-stand-your-ground-law\">said in 2012\u003c/a> that such legislation enables “lawful people to defend themselves, and deters would-be murderers, rapists and robbers.”\u003c/p>\n\u003cp>The filmmakers say George Zimmerman did not respond to requests for interviews. (The series details the threats he sent to the investigator hired by Furst and Nason to find him)\u003c/p>\n\u003cp>In the end, he was acquitted. The six female jurors found the state had not made a strong enough case to prove that Zimmerman had committed second-degree murder.\u003c/p>\n\u003cp>Tracy Martin and Sybrina Fulton were determined that some good would come from their son’s death. Shortly after the trial, they established the Trayvon Martin Foundation, which is dedicated to helping parents and families that have lost children to gun violence. They speak out frequently against Stand Your Ground laws.\u003c/p>\n\u003cp>The series links Martin’s death and the trial with the rise of the Black Lives Matter movement, which soon became a national force. When people push back and ask why all lives shouldn’t matter, Sabrina Fulton has a ready response: “It’s not taking away from anybody else’s life,” she says, “it’s just putting emphasis on black lives because black lives seem so … disposable.”\u003c/p>\n\u003cp>Fulton says she is heartened by the activists of all races who supported them during the trial and are still advocating for justice for others who don’t look like them. “We didn’t get into this situation with just African-Americans, and we’re not going to get out of this situation with just African-Americans,” she insists. “I think all races understand it’s not about civil rights, it’s about human rights.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work keeps them busy, Tracy Martin says, but they never forget what they’ve lost. “For many people it’s a story, but for us it’s our life. We relive the story every day,” he says. “Even though we can’t save our son, we want to save someone else’s son or daughter.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Look+Back+At+Trayvon+Martin%27s+Death%2C+And+The+Movement+It+Inspired&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us remember the broad outlines of the story: 17-year-old Trayvon Martin was followed, shot and killed by neighborhood watchman George Zimmerman in Sanford, Fla., on the night of Feb. 26, 2012.\u003c/p>\n\u003cp>More than six weeks later, Zimmerman was arrested and, eventually, tried for second-degree murder in a case that would be as racially polarizing as the O.J. Simpson trial had been nearly 20 years earlier.\u003c/p>\n\u003cp>Filmmakers Julia Willoughby Nason and Jenner Furst (the duo also did \u003cem>Time: The Kalief Browder Story\u003c/em>) thought it was important to revisit Martin’s death, Zimmerman’s trial and the effect that Florida’s \u003ca href=\"https://www.npr.org/2013/01/02/167984117/-stand-your-ground-linked-to-increase-in-homicide\">Stand Your Ground\u003c/a> law had on both. The result is a six-episode series, \u003cem>Rest in Power: The Trayvon Martin Story\u003c/em>, which airs on the Paramount Network through early September.\u003c/p>\n\u003cp>In the beginning, as the series shows, there was a lot of sympathy for Trayvon’s death. Even people like Donald Trump and (then) Fox News host Bill O’Reilly thought the loss of the 17 year-old was, in Trump’s words, “terrible.”\u003c/p>\n\u003cp>Until Barack Obama, who often was famously reluctant to speak to the country on issues of race, decided to weigh in. “Obviously, this is a tragedy. I can only imagine what these parents are going through,” Obama said in his trademark measured cadence. “And when I think about this boy, I think about my own kids.” Then, after speaking about the importance of letting the investigation run its course he said this: “You know, if I had a son, he’d look like Trayvon … ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>From victim to villain\u003c/strong>\u003c/p>\n\u003cp>The series tells how those few words turned George Zimmerman from a stalker-y adult into a victim, a person who was being (metaphorically speaking), beaten up by the most powerful man in the world. “Zimmerman is not being treated fairly,” O’Reilly said on Fox.\u003c/p>\n\u003cp>“Now, George Zimmerman was the victim of a president who was overreaching,” says director Jenner Furst.\u003c/p>\n\u003cp>Stories began to leak out: Trayvon had been skipping school. He’d been suspended for writing “WTF” on a hallway locker. Trace amounts of THC, the chemical that usually indicates marijuana, had been found in his system, according to a forensic report. Suddeny he wasn’t the sweet-faced 17-year-old with the impish sense of humor, he was a Bad Guy.\u003c/p>\n\u003cp>“Trayvon was the victim in this case,” his father, Tracy Martin, told NPR. “They tried to make him the villain in this case.”\u003c/p>\n\u003cp>And not just Trayvon. During the initial jury questioning, Tracy Martin and his ex-wife, Sybrina Fulton were criticized, too.\u003c/p>\n\u003cp>“Being a single parent with two boys of my own,” one potential juror said during questioning, “I don’t want to judge, but I just want to say this could have been prevented had he not been up here.”\u003c/p>\n\u003cp>As the trial went on, the atmosphere in Sanford became even more charged and polarized. White nationalists and the alt-right adopted Zimmerman’s cause, seeing in him a martyr being sacrificed on the altar of political correctness. Protestors for racial justice marched, and clashed with them. The scene bristled with satellite dishes, high on their stalks that took everything in like heavy-headed sunflowers.\u003c/p>\n\u003cp>\u003cstrong>The NRA and Stand Your Ground\u003c/strong>\u003c/p>\n\u003cp>Florida’s \u003ca href=\"https://www.npr.org/2012/03/20/149014228/a-history-of-stand-your-ground-law-in-florida\">Stand Your Ground\u003c/a> law is the character that’s unseen, but very much felt in this series. “I think that it’s very shocking to examine how a lobbying entity was able to rewrite the definition of murder in this country, and how Florida was used as a laboratory to explore these gun laws, which are now commonplace in America,” says director Jenner Furst.\u003c/p>\n\u003cp>The NRA declined to talk to him and co-director Julia Nason. The organization remains a strong supporter of Stand Your Ground laws and \u003ca href=\"https://www.theguardian.com/world/2012/may/02/nra-stand-your-ground-law\">said in 2012\u003c/a> that such legislation enables “lawful people to defend themselves, and deters would-be murderers, rapists and robbers.”\u003c/p>\n\u003cp>The filmmakers say George Zimmerman did not respond to requests for interviews. (The series details the threats he sent to the investigator hired by Furst and Nason to find him)\u003c/p>\n\u003cp>In the end, he was acquitted. The six female jurors found the state had not made a strong enough case to prove that Zimmerman had committed second-degree murder.\u003c/p>\n\u003cp>Tracy Martin and Sybrina Fulton were determined that some good would come from their son’s death. Shortly after the trial, they established the Trayvon Martin Foundation, which is dedicated to helping parents and families that have lost children to gun violence. They speak out frequently against Stand Your Ground laws.\u003c/p>\n\u003cp>The series links Martin’s death and the trial with the rise of the Black Lives Matter movement, which soon became a national force. When people push back and ask why all lives shouldn’t matter, Sabrina Fulton has a ready response: “It’s not taking away from anybody else’s life,” she says, “it’s just putting emphasis on black lives because black lives seem so … disposable.”\u003c/p>\n\u003cp>Fulton says she is heartened by the activists of all races who supported them during the trial and are still advocating for justice for others who don’t look like them. “We didn’t get into this situation with just African-Americans, and we’re not going to get out of this situation with just African-Americans,” she insists. “I think all races understand it’s not about civil rights, it’s about human rights.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work keeps them busy, Tracy Martin says, but they never forget what they’ve lost. “For many people it’s a story, but for us it’s our life. We relive the story every day,” he says. “Even though we can’t save our son, we want to save someone else’s son or daughter.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Look+Back+At+Trayvon+Martin%27s+Death%2C+And+The+Movement+It+Inspired&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Riveting Documentary Sheds Light On 'Dark Money' In Montana Politics",
"headTitle": "Riveting Documentary Sheds Light On ‘Dark Money’ In Montana Politics | KQED",
"content": "\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\u003c/p>\n\u003cp>https://youtu.be/nVqnfZ9dPOw\u003c/p>\n\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\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/nVqnfZ9dPOw'\n title='//www.youtube.com/embed/nVqnfZ9dPOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sarah Kane’s '4.48 Psychosis' Finds Empathetic Home at Anton’s Well",
"headTitle": "Sarah Kane’s ‘4.48 Psychosis’ Finds Empathetic Home at Anton’s Well | KQED",
"content": "\u003cp>Although her name is instantly recognized by even casual theater-goers, Sarah Kane’s works have long struggled to find a foothold in the Bay Area. With a few exceptions (such as Shotgun Players’ \u003ca href=\"https://www.kqed.org/arts/13810092/shotgun-players-blasted-is-a-complex-portrayal-of-despair\" rel=\"noopener\" target=\"_blank\">2017 production of \u003cem>Blasted\u003c/em>\u003c/a>), Bay Area companies shy away from her passionately bleak worlds and imperfect, struggling characters.\u003c/p>\n\u003cp>This struggle is not confined solely to her stages. Like other creators of visceral worlds tinged with violence, surrealism, and self-loathing—the Kurt Cobains and the Sylvia Plaths—what Kane will probably always be known for, above all, is her untimely death by suicide at the age of 28.\u003c/p>\n\u003cp>With their production of Kane’s final play \u003cem>4.48 Psychosis\u003c/em> at the small studio stage of Oakland’s Temescal Arts Center, Anton’s Well Theater Company further cements their commitment to bringing the unusual and the overlooked to the Bay Area. (Other recent productions have included \u003cem>The Human Ear\u003c/em>, by Alexandra Wood, and \u003cem>Tender Napalm\u003c/em>, by Philip Ridley.)\u003c/p>\n\u003cp>What makes \u003cem>4.48\u003c/em> unique, even for Kane, is the fact that it consists solely of text, split arbitrarily into 24 sections, no character names, no stage directions, no indication at all of how it should be presented, or even how many actors should be in it. In fact, it reads like a poem, the kind that would not be out of place in an anthology dedicated to new, experimental works. There are even whole sections consisting solely of numbers displayed in a sequence whose meaning is known only to their author.\u003c/p>\n\u003cp>In short, it’s a challenge.\u003c/p>\n\u003cfigure id=\"attachment_13837554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Robert Estes rises to this challenge with the capable assistance of choreographer Bridgette Loriaux, and a strong cast of three women: Anastasia Barron, Jody Christian, and Adrian Deane. Beginning on three separate corners of the stage, the three advance to the center of the room to dance to the pre-recorded strains of a cello, filling the room with urgent melancholy. Clad in matching trousers of loden green, and button-down shirts of light blue, deep teal, and maroon (costume design by Katja Rivera), they come together only to pull apart, not just once but throughout the play, like pieces of a fragmented mind trying to put itself back together again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the words spoken by Anastasia Barron, that fragmented mind “shifts as ten thousand cockroaches when a shaft of light enters as all thoughts unite in an instant of accord.” Welcome to the world of Sarah Kane, where 4:48 am is her hour of reckoning, every morning she wakes.\u003c/p>\n\u003cp>It takes time for the three “fragments” to develop into their own unique characters—in part because of the often arbitrary nature of the text, and in part because of the often seemingly arbitrary nature of the action onstage. But as the three actors contort their bodies in symbiosis with the contortions of a mind in turmoil, three major facets of their shared consciousness become apparent. Barron is given the bulk of the poetry—the soul-searching and the self-loathing—with lines that sometimes border on the maudlin.\u003c/p>\n\u003cp>“I’ve never in my life had a problem giving another person what they want,” she says at one point. “But no one’s ever been able to do that for me.” Frequently she lies on her back or on her side, sinking into the floor, fetal with anguish, while Christian and Deane spar more frequently with each other: Deane as righteous self-destruction and Christian as cool rationality and medical diagnoses.\u003c/p>\n\u003cp>“There’s not a drug on earth can make life meaningful.”\u003c/p>\n\u003cp>“Nothing will interfere with your work like suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13837552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg\" alt=\"Jody Christian, Adrian Deane, and Anastasia Barron star in Anton's Well production of '4.48 Psychosis.'\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13837552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1200x730.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1920x1168.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron star in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the language is frequently mesmerizing, and the actors remain fierce and focused throughout the piece, the production does have its weak points. The choice to rely on frequent blackouts, strobe lights and ill-suited gobos (provided by Nathan Bogner) in order to differentiate the many sections turn what could be a sustained burst of impassioned turmoil into an enervating series of vignettes, connected to each other only by the constant presence of the actors and the shrewd bitterness of Kane’s words.\u003c/p>\n\u003cp>Staged in the round, the frequently visible faces of fellow audience members, whether rapt or dozing, sometimes distract from the drama onstage. And without a textually provided throughline, the production leaves us equally bereft of a satisfactory \u003cem>denouement\u003c/em>. The play simply ends when it ends, with an understated plea to open the curtains, after which the actors take their bows and leave.\u003c/p>\n\u003cfigure id=\"attachment_13837555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empathetic moment with Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this, the rare opportunity to see this little-staged work is worth the effort. Few plays go so boldly into the misunderstood territory of the troubled mind as \u003cem>4.48 Psychosis\u003c/em>, and Estes and his fearless cast are to be commended. Through their unconventional staging they imbue this difficult piece with moments of real beauty and empathy, drawing the audience to bear witness to a human condition that is so frequently ignored, misinterpreted, or rejected. This production may not be a perfect distillation of the above, but it shouldn’t be overlooked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘4.48 Psychosis’ runs through Aug. 5 at Temescal Arts Center in Oakland. Details \u003ca href=\"https://antonswell.org/2018/07/14/uncompromising-4-48-psychosis-opens-on-friday-july-14/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A rare production in Oakland of Sarah Kane’s visceral exploration of clinical depression is well worth its challenges.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although her name is instantly recognized by even casual theater-goers, Sarah Kane’s works have long struggled to find a foothold in the Bay Area. With a few exceptions (such as Shotgun Players’ \u003ca href=\"https://www.kqed.org/arts/13810092/shotgun-players-blasted-is-a-complex-portrayal-of-despair\" rel=\"noopener\" target=\"_blank\">2017 production of \u003cem>Blasted\u003c/em>\u003c/a>), Bay Area companies shy away from her passionately bleak worlds and imperfect, struggling characters.\u003c/p>\n\u003cp>This struggle is not confined solely to her stages. Like other creators of visceral worlds tinged with violence, surrealism, and self-loathing—the Kurt Cobains and the Sylvia Plaths—what Kane will probably always be known for, above all, is her untimely death by suicide at the age of 28.\u003c/p>\n\u003cp>With their production of Kane’s final play \u003cem>4.48 Psychosis\u003c/em> at the small studio stage of Oakland’s Temescal Arts Center, Anton’s Well Theater Company further cements their commitment to bringing the unusual and the overlooked to the Bay Area. (Other recent productions have included \u003cem>The Human Ear\u003c/em>, by Alexandra Wood, and \u003cem>Tender Napalm\u003c/em>, by Philip Ridley.)\u003c/p>\n\u003cp>What makes \u003cem>4.48\u003c/em> unique, even for Kane, is the fact that it consists solely of text, split arbitrarily into 24 sections, no character names, no stage directions, no indication at all of how it should be presented, or even how many actors should be in it. In fact, it reads like a poem, the kind that would not be out of place in an anthology dedicated to new, experimental works. There are even whole sections consisting solely of numbers displayed in a sequence whose meaning is known only to their author.\u003c/p>\n\u003cp>In short, it’s a challenge.\u003c/p>\n\u003cfigure id=\"attachment_13837554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Robert Estes rises to this challenge with the capable assistance of choreographer Bridgette Loriaux, and a strong cast of three women: Anastasia Barron, Jody Christian, and Adrian Deane. Beginning on three separate corners of the stage, the three advance to the center of the room to dance to the pre-recorded strains of a cello, filling the room with urgent melancholy. Clad in matching trousers of loden green, and button-down shirts of light blue, deep teal, and maroon (costume design by Katja Rivera), they come together only to pull apart, not just once but throughout the play, like pieces of a fragmented mind trying to put itself back together again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the words spoken by Anastasia Barron, that fragmented mind “shifts as ten thousand cockroaches when a shaft of light enters as all thoughts unite in an instant of accord.” Welcome to the world of Sarah Kane, where 4:48 am is her hour of reckoning, every morning she wakes.\u003c/p>\n\u003cp>It takes time for the three “fragments” to develop into their own unique characters—in part because of the often arbitrary nature of the text, and in part because of the often seemingly arbitrary nature of the action onstage. But as the three actors contort their bodies in symbiosis with the contortions of a mind in turmoil, three major facets of their shared consciousness become apparent. Barron is given the bulk of the poetry—the soul-searching and the self-loathing—with lines that sometimes border on the maudlin.\u003c/p>\n\u003cp>“I’ve never in my life had a problem giving another person what they want,” she says at one point. “But no one’s ever been able to do that for me.” Frequently she lies on her back or on her side, sinking into the floor, fetal with anguish, while Christian and Deane spar more frequently with each other: Deane as righteous self-destruction and Christian as cool rationality and medical diagnoses.\u003c/p>\n\u003cp>“There’s not a drug on earth can make life meaningful.”\u003c/p>\n\u003cp>“Nothing will interfere with your work like suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13837552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg\" alt=\"Jody Christian, Adrian Deane, and Anastasia Barron star in Anton's Well production of '4.48 Psychosis.'\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13837552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1200x730.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1920x1168.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron star in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the language is frequently mesmerizing, and the actors remain fierce and focused throughout the piece, the production does have its weak points. The choice to rely on frequent blackouts, strobe lights and ill-suited gobos (provided by Nathan Bogner) in order to differentiate the many sections turn what could be a sustained burst of impassioned turmoil into an enervating series of vignettes, connected to each other only by the constant presence of the actors and the shrewd bitterness of Kane’s words.\u003c/p>\n\u003cp>Staged in the round, the frequently visible faces of fellow audience members, whether rapt or dozing, sometimes distract from the drama onstage. And without a textually provided throughline, the production leaves us equally bereft of a satisfactory \u003cem>denouement\u003c/em>. The play simply ends when it ends, with an understated plea to open the curtains, after which the actors take their bows and leave.\u003c/p>\n\u003cfigure id=\"attachment_13837555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empathetic moment with Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this, the rare opportunity to see this little-staged work is worth the effort. Few plays go so boldly into the misunderstood territory of the troubled mind as \u003cem>4.48 Psychosis\u003c/em>, and Estes and his fearless cast are to be commended. Through their unconventional staging they imbue this difficult piece with moments of real beauty and empathy, drawing the audience to bear witness to a human condition that is so frequently ignored, misinterpreted, or rejected. This production may not be a perfect distillation of the above, but it shouldn’t be overlooked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘4.48 Psychosis’ runs through Aug. 5 at Temescal Arts Center in Oakland. Details \u003ca href=\"https://antonswell.org/2018/07/14/uncompromising-4-48-psychosis-opens-on-friday-july-14/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Roxie Spotlight Shines on Forgotten Andrée Clément",
"headTitle": "Now Playing! Roxie Spotlight Shines on Forgotten Andrée Clément | KQED",
"content": "\u003cp>Damaged. Vengeful. Perverse. Those are a few of the characteristics of the classic femme fatale, which French actress \u003ca href=\"https://www.roxie.com/ai1ec_event/midsummer-nightmare/?instance_id=28408\" target=\"_blank\" rel=\"noopener\">Andrée Clément\u003c/a> exuded even when she was playing a chambermaid with a mousy exterior. Resurrected by local programmer Don Malcolm for a Roxie double bill culled from the dozen-odd movies she made between 1943 and her premature death in 1954, Clément possessed an unpredictability and instinctiveness that gave her a wild-card quality. Especially in the crime-slash-relationship dramas on view July 26, she seems perpetually on the verge of breaking some convention of (im)polite society.\u003c/p>\n\u003cp>In \u003cem>La Fille du Diable\u003c/em> (\u003cem>Devil’s Daughter\u003c/em>), Clément plays a despised juvenile delinquent in a small village that thrives on the maintenance of appearances. Her dismal outsider existence is enlivened by the arrival of an impostor: an infamous criminal (Pierre Fresnay) passing himself off as the ne’er-do-well who left home 20-odd years ago, struck it rich in America and has returned to the fold. The 1946 film is rife with smart characters and satisfying dialogue, and is wise to the French propensity for cover stories and silence following the Occupation and the liberation.\u003c/p>\n\u003cfigure id=\"attachment_13837528\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg\" alt=\"Still from 'Macadam,' 1946.\" width=\"1200\" height=\"868\" class=\"size-full wp-image-13837528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Macadam,’ 1946. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released the same year, \u003cem>Macadam\u003c/em> (\u003cem>Back Streets of Paris\u003c/em>) unfolds in a down-on-its-heels hotel on the outskirts of Paris operated by a certain Madame Rose (Francoise Rosay). Her daughter, Simone (played by Clément), is a bit like Cinderella: She’s compelled to do the lowliest chores from dawn to dark. And, like that fairy-tale lass, one day she meets a prince. Well, a street hustler, but there’s no difference ‘tween the two to Simone.\u003c/p>\n\u003cp>\u003cem>Macadam\u003c/em> takes unseemly pleasure in its litany of con-job seductions, double-crosses and betrayals, which every noir enthusiast will delight in (and see coming from a kilometer away). The movie teases us with romantic ideas of happily-ever-after and justice shall prevail, but we know, from the first sight of Andrée Clément’s face, that nothing good will ever happen to this girl. Nonetheless, Simone comes to an appreciably better end than Andrée herself, who succumbed to tuberculosis at 35. The great thing about the movies, of course, is everyone lives forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Damaged. Vengeful. Perverse. Those are a few of the characteristics of the classic femme fatale, which French actress \u003ca href=\"https://www.roxie.com/ai1ec_event/midsummer-nightmare/?instance_id=28408\" target=\"_blank\" rel=\"noopener\">Andrée Clément\u003c/a> exuded even when she was playing a chambermaid with a mousy exterior. Resurrected by local programmer Don Malcolm for a Roxie double bill culled from the dozen-odd movies she made between 1943 and her premature death in 1954, Clément possessed an unpredictability and instinctiveness that gave her a wild-card quality. Especially in the crime-slash-relationship dramas on view July 26, she seems perpetually on the verge of breaking some convention of (im)polite society.\u003c/p>\n\u003cp>In \u003cem>La Fille du Diable\u003c/em> (\u003cem>Devil’s Daughter\u003c/em>), Clément plays a despised juvenile delinquent in a small village that thrives on the maintenance of appearances. Her dismal outsider existence is enlivened by the arrival of an impostor: an infamous criminal (Pierre Fresnay) passing himself off as the ne’er-do-well who left home 20-odd years ago, struck it rich in America and has returned to the fold. The 1946 film is rife with smart characters and satisfying dialogue, and is wise to the French propensity for cover stories and silence following the Occupation and the liberation.\u003c/p>\n\u003cfigure id=\"attachment_13837528\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg\" alt=\"Still from 'Macadam,' 1946.\" width=\"1200\" height=\"868\" class=\"size-full wp-image-13837528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Macadam,’ 1946. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released the same year, \u003cem>Macadam\u003c/em> (\u003cem>Back Streets of Paris\u003c/em>) unfolds in a down-on-its-heels hotel on the outskirts of Paris operated by a certain Madame Rose (Francoise Rosay). Her daughter, Simone (played by Clément), is a bit like Cinderella: She’s compelled to do the lowliest chores from dawn to dark. And, like that fairy-tale lass, one day she meets a prince. Well, a street hustler, but there’s no difference ‘tween the two to Simone.\u003c/p>\n\u003cp>\u003cem>Macadam\u003c/em> takes unseemly pleasure in its litany of con-job seductions, double-crosses and betrayals, which every noir enthusiast will delight in (and see coming from a kilometer away). The movie teases us with romantic ideas of happily-ever-after and justice shall prevail, but we know, from the first sight of Andrée Clément’s face, that nothing good will ever happen to this girl. Nonetheless, Simone comes to an appreciably better end than Andrée herself, who succumbed to tuberculosis at 35. The great thing about the movies, of course, is everyone lives forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative",
"headTitle": "In ‘Don’t Worry,’ Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
"content": "\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
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"description": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
"title": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
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"headline": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Funk Ain't Dead,' Long Live Funk Art!",
"headTitle": "‘Funk Ain’t Dead,’ Long Live Funk Art! | KQED",
"content": "\u003cp>Fifty-one years ago, the definition of Funk art was fairly synonymous with “hot mess.” \u003c/p>\n\u003cp>Peter Selz, director at the time of UC Berkeley’s University Art Museum, organized a 1967 show simply titled \u003ci>Funk\u003c/i>, gathering artworks he described as irreverent in attitude, committed, bizarre, sensuous and “frequently quite ugly.” As if this “definition” wasn’t nebulous enough, the term Funk itself was borrowed from jazz, which necessitates an extra layer of explication to differentiate the visual art from the musical genre.\u003c/p>\n\u003cp>But Selz’s definitions of Funk, often positioned against the minimalist and \u003ca href=\"https://en.wikipedia.org/wiki/Finish_Fetish\" rel=\"noopener\" target=\"_blank\">finish-fetish\u003c/a> work popular in New York and Los Angeles in the late ’60s, still hold true—at least for the collection of messy, weird, gooey and colorful artwork gathered at San Francisco’s Root Division for \u003ci>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/funk-aint-dead\" rel=\"noopener\" target=\"_blank\">Funk Ain’t Dead\u003c/a>\u003c/i>, a group show curated by local ceramics artist \u003ca href=\"https://mathyougoldberg.carbonmade.com/\" rel=\"noopener\" target=\"_blank\">Matt Goldberg\u003c/a>. \u003c/p>\n\u003cp>Five decades after \u003ci>Funk\u003c/i>, Goldberg finds the spiritual descendants of the movement-that-never-really-was in 21 Bay Area practitioners, demonstrating how contemporary work can exist under a moniker used so long ago—and why we still need that art.\u003c/p>\n\u003cp>While 21 artists sounds like a lot of work (it is), Root Division’s high-ceilinged Mission Street space accommodates the paintings, sculptures and videos of \u003ci>Funk Ain’t Dead\u003c/i> without feeling overcrowded—a feat considering their aforementioned weirdness and gooey-ness.\u003c/p>\n\u003cfigure id=\"attachment_13837366\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in.jpg\" alt=\"Santiago Insignares, 'Tender Cage #3,' 2018.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13837366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Santiago Insignares, ‘Tender Cage #3,’ 2018. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show opens with \u003ca href=\"http://www.santiagoinsignares.com/\" rel=\"noopener\" target=\"_blank\">Santiago Insignares\u003c/a>’ \u003ci>Tender Cage #3\u003c/i>, a wall sculpture made out of foam tubes ending in cast hands and chain-link fencing boxed in by thick wooden frames. In his original exhibition essay, “\u003ca href=\"https://www.csus.edu/indiv/o/obriene/art116/readings/peter%20selz%20notes%20on%20funk%201967.pdf\" rel=\"noopener\" target=\"_blank\">Notes on Funk\u003c/a>,” Selz wrote, “Funk art looks at things which traditionally were not meant to be looked at.” And sometimes those “things” are political. It’s impossible to see Insignares’ work without thinking of family detention centers; the one “cage” on the gallery’s floor holds a child’s toy truck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other works directly or suggestively touch on the anxiety of our current times, living up to Selz’s determination that “Funk is visual double-talk, it makes fun of itself, although often it is dead serious.” \u003ca href=\"http://www.elisabethkohnke.com/\" rel=\"noopener\" target=\"_blank\">Elisabeth Kohnke\u003c/a>’s video \u003ci>Crisis Flag\u003c/i> shows an inflated tube (the kind that frequently adorn car lots, also known as “skydancers”) flopping violently about with the Stars and Stripes at its top. \u003ca href=\"https://www.hi-bred.net/about/\" rel=\"noopener\" target=\"_blank\">Ian Mackay\u003c/a>’s animation \u003ci>Nail Biter\u003c/i> is a simple, yet extremely relatable 10-second loop of a pink-headed person forever chomping on their own fingernails. In 2018, we are all \u003ci>Nail Biter\u003c/i>.\u003c/p>\n\u003cp>In the back gallery, the things “not meant to be looked at,” are of a more corporeal nature. \u003ca href=\"https://leemlavy.com/\" rel=\"noopener\" target=\"_blank\">Lee Lavy\u003c/a>’s \u003ci>Body Without Organs\u003c/i> sits on the gallery floor like a collection of dismembered cartoon body parts, each gloopy cast of a hand, leg or foot painted brightly and oozing out a contrasting color.\u003c/p>\n\u003cfigure id=\"attachment_13837367\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable.jpg\" alt=\"Lee Lavy, 'Body Without Organs,' 2018.\" width=\"2016\" height=\"1512\" class=\"size-full wp-image-13837367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-520x390.jpg 520w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Lee Lavy, ‘Body Without Organs,’ 2018. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, \u003ca href=\"http://www.davidlasley.org/\" rel=\"noopener\" target=\"_blank\">David Lasley\u003c/a>’s series of oil on paper paintings show squeezed and distorted images of men’s bodies in lurid “feminine” tones, abstracting human forms that are already highly unreal (pictures of male models sourced from the internet).\u003c/p>\n\u003cp>\u003ca href=\"https://www.katiechin.com/\" rel=\"noopener\" target=\"_blank\">Katie Chin\u003c/a>’s \u003ci>Cash Flow\u003c/i> speaks to the detritus bodies produce, with scaled-up cotton swabs made to look like they’re used (of course) mounted on the gallery wall and in a pile below. “Funk objects,” Selz wrote, “are loud, unashamed and free.”\u003c/p>\n\u003cp>The loudest and free-est of the bunch are \u003ca href=\"https://www.josejoaquinfigueroa.com/\" rel=\"noopener\" target=\"_blank\">José Figueroa\u003c/a>’s \u003ci>Totems\u003c/i>, four 17-foot-tall sculptures that hang from the ceiling or extend upwards from the floor and make use of so many materials they’re simply listed as “mixed media.”\u003c/p>\n\u003cfigure id=\"attachment_13837369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200.jpg\" alt=\"Installation view of 'Funk Ain't Dead,' with Katie Chin's 'Cash Flow' at left, Keesoo Kwon's 'Genesis' at center and Jose Figueroa's 'Totems' at right.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13837369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Funk Ain’t Dead,’ with Katie Chin’s ‘Cash Flow’ at left, Keesoo Kwon’s ‘Genesis’ at center and José Figueroa’s ‘Totems’ at right. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the original \u003ci>Funk\u003c/i> artists \u003ca href=\"https://www.artpractical.com/feature/funk/\" rel=\"noopener\" target=\"_blank\">rebelled against Selz’s classification\u003c/a>, arguing that a “school” of Funk, if it ever existed, had come and gone by 1967. Their refusal within their own practices to be limited to one medium, tone or form also meant they refused to be grouped under one name. They were, as Selz wrote, “a new generation which is confident, potent, and often defiant.”\u003c/p>\n\u003cp>But the artists of \u003ci>Funk Ain’t Dead\u003c/i> prove that, despite these long-ago protestations, Funk is an attitude that lives on, bringing us new, confident, potent and defiant ways of looking obliquely at an already-ridiculous world, one gloopy object at a time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Funk Ain’t Dead’ is on view at Root Division in San Francisco through Aug. 11, 2018. \u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/funk-aint-dead\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty-one years ago, the definition of Funk art was fairly synonymous with “hot mess.” \u003c/p>\n\u003cp>Peter Selz, director at the time of UC Berkeley’s University Art Museum, organized a 1967 show simply titled \u003ci>Funk\u003c/i>, gathering artworks he described as irreverent in attitude, committed, bizarre, sensuous and “frequently quite ugly.” As if this “definition” wasn’t nebulous enough, the term Funk itself was borrowed from jazz, which necessitates an extra layer of explication to differentiate the visual art from the musical genre.\u003c/p>\n\u003cp>But Selz’s definitions of Funk, often positioned against the minimalist and \u003ca href=\"https://en.wikipedia.org/wiki/Finish_Fetish\" rel=\"noopener\" target=\"_blank\">finish-fetish\u003c/a> work popular in New York and Los Angeles in the late ’60s, still hold true—at least for the collection of messy, weird, gooey and colorful artwork gathered at San Francisco’s Root Division for \u003ci>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/funk-aint-dead\" rel=\"noopener\" target=\"_blank\">Funk Ain’t Dead\u003c/a>\u003c/i>, a group show curated by local ceramics artist \u003ca href=\"https://mathyougoldberg.carbonmade.com/\" rel=\"noopener\" target=\"_blank\">Matt Goldberg\u003c/a>. \u003c/p>\n\u003cp>Five decades after \u003ci>Funk\u003c/i>, Goldberg finds the spiritual descendants of the movement-that-never-really-was in 21 Bay Area practitioners, demonstrating how contemporary work can exist under a moniker used so long ago—and why we still need that art.\u003c/p>\n\u003cp>While 21 artists sounds like a lot of work (it is), Root Division’s high-ceilinged Mission Street space accommodates the paintings, sculptures and videos of \u003ci>Funk Ain’t Dead\u003c/i> without feeling overcrowded—a feat considering their aforementioned weirdness and gooey-ness.\u003c/p>\n\u003cfigure id=\"attachment_13837366\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in.jpg\" alt=\"Santiago Insignares, 'Tender Cage #3,' 2018.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13837366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Santiago-Insignares.Tender-Cage-3.2018.Polyurethane-Foam-armature-wire-chain-link-fence-and-wood.108-x-48-x-48-in-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Santiago Insignares, ‘Tender Cage #3,’ 2018. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show opens with \u003ca href=\"http://www.santiagoinsignares.com/\" rel=\"noopener\" target=\"_blank\">Santiago Insignares\u003c/a>’ \u003ci>Tender Cage #3\u003c/i>, a wall sculpture made out of foam tubes ending in cast hands and chain-link fencing boxed in by thick wooden frames. In his original exhibition essay, “\u003ca href=\"https://www.csus.edu/indiv/o/obriene/art116/readings/peter%20selz%20notes%20on%20funk%201967.pdf\" rel=\"noopener\" target=\"_blank\">Notes on Funk\u003c/a>,” Selz wrote, “Funk art looks at things which traditionally were not meant to be looked at.” And sometimes those “things” are political. It’s impossible to see Insignares’ work without thinking of family detention centers; the one “cage” on the gallery’s floor holds a child’s toy truck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other works directly or suggestively touch on the anxiety of our current times, living up to Selz’s determination that “Funk is visual double-talk, it makes fun of itself, although often it is dead serious.” \u003ca href=\"http://www.elisabethkohnke.com/\" rel=\"noopener\" target=\"_blank\">Elisabeth Kohnke\u003c/a>’s video \u003ci>Crisis Flag\u003c/i> shows an inflated tube (the kind that frequently adorn car lots, also known as “skydancers”) flopping violently about with the Stars and Stripes at its top. \u003ca href=\"https://www.hi-bred.net/about/\" rel=\"noopener\" target=\"_blank\">Ian Mackay\u003c/a>’s animation \u003ci>Nail Biter\u003c/i> is a simple, yet extremely relatable 10-second loop of a pink-headed person forever chomping on their own fingernails. In 2018, we are all \u003ci>Nail Biter\u003c/i>.\u003c/p>\n\u003cp>In the back gallery, the things “not meant to be looked at,” are of a more corporeal nature. \u003ca href=\"https://leemlavy.com/\" rel=\"noopener\" target=\"_blank\">Lee Lavy\u003c/a>’s \u003ci>Body Without Organs\u003c/i> sits on the gallery floor like a collection of dismembered cartoon body parts, each gloopy cast of a hand, leg or foot painted brightly and oozing out a contrasting color.\u003c/p>\n\u003cfigure id=\"attachment_13837367\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable.jpg\" alt=\"Lee Lavy, 'Body Without Organs,' 2018.\" width=\"2016\" height=\"1512\" class=\"size-full wp-image-13837367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Lee-Lavy.Body-Without-Organs.2018.Paint-FGR-concrete-and-dirt.Dimensions-variable-520x390.jpg 520w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Lee Lavy, ‘Body Without Organs,’ 2018. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, \u003ca href=\"http://www.davidlasley.org/\" rel=\"noopener\" target=\"_blank\">David Lasley\u003c/a>’s series of oil on paper paintings show squeezed and distorted images of men’s bodies in lurid “feminine” tones, abstracting human forms that are already highly unreal (pictures of male models sourced from the internet).\u003c/p>\n\u003cp>\u003ca href=\"https://www.katiechin.com/\" rel=\"noopener\" target=\"_blank\">Katie Chin\u003c/a>’s \u003ci>Cash Flow\u003c/i> speaks to the detritus bodies produce, with scaled-up cotton swabs made to look like they’re used (of course) mounted on the gallery wall and in a pile below. “Funk objects,” Selz wrote, “are loud, unashamed and free.”\u003c/p>\n\u003cp>The loudest and free-est of the bunch are \u003ca href=\"https://www.josejoaquinfigueroa.com/\" rel=\"noopener\" target=\"_blank\">José Figueroa\u003c/a>’s \u003ci>Totems\u003c/i>, four 17-foot-tall sculptures that hang from the ceiling or extend upwards from the floor and make use of so many materials they’re simply listed as “mixed media.”\u003c/p>\n\u003cfigure id=\"attachment_13837369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200.jpg\" alt=\"Installation view of 'Funk Ain't Dead,' with Katie Chin's 'Cash Flow' at left, Keesoo Kwon's 'Genesis' at center and Jose Figueroa's 'Totems' at right.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13837369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Funk-Ain_t-Dead-Installation-3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Funk Ain’t Dead,’ with Katie Chin’s ‘Cash Flow’ at left, Keesoo Kwon’s ‘Genesis’ at center and José Figueroa’s ‘Totems’ at right. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the original \u003ci>Funk\u003c/i> artists \u003ca href=\"https://www.artpractical.com/feature/funk/\" rel=\"noopener\" target=\"_blank\">rebelled against Selz’s classification\u003c/a>, arguing that a “school” of Funk, if it ever existed, had come and gone by 1967. Their refusal within their own practices to be limited to one medium, tone or form also meant they refused to be grouped under one name. They were, as Selz wrote, “a new generation which is confident, potent, and often defiant.”\u003c/p>\n\u003cp>But the artists of \u003ci>Funk Ain’t Dead\u003c/i> prove that, despite these long-ago protestations, Funk is an attitude that lives on, bringing us new, confident, potent and defiant ways of looking obliquely at an already-ridiculous world, one gloopy object at a time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Funk Ain’t Dead’ is on view at Root Division in San Francisco through Aug. 11, 2018. \u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/funk-aint-dead\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Peter Hujar Slows Down the 'Speed of Life' at BAMPFA",
"headTitle": "Peter Hujar Slows Down the ‘Speed of Life’ at BAMPFA | KQED",
"content": "\u003cp>\u003ca href=\"https://bampfa.org/program/peter-hujar-speed-life\">\u003ci>Peter Hujar: Speed of Life\u003c/i>\u003c/a>, the elegantly staged photography retrospective recently landed in Berkeley, bears a poignant misnomer. For Hujar (1934-1987), portraying landscapes, animal studies and the personalities that lit up his professional and personal galaxy as they approached stardom was a way to slow, not accelerate, life’s heady pace amidst radical change in 1970s and ’80s New York. On view through mid-November at its only West Coast venue, the exhibition speaks to the singularity of artistic vision and the power of institutional influence to make, or break, a career.\u003c/p>\n\u003cp>Descending the museum’s wooden platform steps, viewers encounter the first suite of Hujar’s black-and-white photographs. Two rows of 12 images each feature the subjects that shaped the artist’s body of work—landscapes and cityscapes, portraiture, nudes, animal studies and still lifes—and recreate Hujar’s 1986 installation at Gracie Mansion Gallery in New York, the last presented in his lifetime. \u003c/p>\n\u003cp>Dividing an exhibition in this way, especially on the museum’s lower level, is a risk. As audiences wander through the museum’s rabbit-warren galleries, it’s possible to lose the visual thread that is first introduced. Curator Apsara DiQuinzio’s choice to isolate the first 24 photographs, however, is strategic: It presents the work as the artist preferred it to be seen, and introduces sequence as the force that guides the exhibition throughout. \u003c/p>\n\u003cfigure id=\"attachment_13837225\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose.jpg\" alt=\"Peter Hujar, 'Cockette John Rothermel in a Fashion Pose,' 1971.\" width=\"1022\" height=\"1024\" class=\"size-full wp-image-13837225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-150x150.jpg 150w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Cockette John Rothermel in a Fashion Pose,’ 1971. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The span is engaging and daunting. What are we to make of a West Virginia draft horse paired with a portrait of photographer \u003ca href=\"https://www.themorgan.org/photographs/374587\" target=\"_blank\" rel=\"noopener\">Lynn Davis\u003c/a>, or an image of a severed bovine head coupled with an portrait of the late singer \u003ca href=\"http://peterhujararchive.com/images/epson-scanner-image-2/\" target=\"_blank\" rel=\"noopener\">Peggy Lee\u003c/a>? No discernible rhythm is evident, but a powerful sense of potential energy is.\u003c/p>\n\u003cp>Stepping into the primary installation, alternating grids and rows of images pick up the presentation scheme introduced in the museum’s atrium. Other than the labels that report basic information about each piece (title, date, dimensions, lending institution), there is little text provided. When it is present, often in the form of extended didactic labels, the text reveals important notes about Hujar’s practice. \u003c/p>\n\u003cfigure id=\"attachment_13837226\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building.jpg\" alt=\"Peter Hujar, 'From Rockefeller Center: The Equitable Building,' 1976.\" width=\"1024\" height=\"1010\" class=\"size-full wp-image-13837226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-960x947.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-520x513.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-96x96.jpg 96w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘From Rockefeller Center: The Equitable Building,’ 1976. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one example, DiQuinzio draws our attention to the artist’s appreciation for diagonal (top left to bottom right corner) compositions in a four-image arrangement at the center of the gallery’s long left wall. Dancer \u003ca href=\"https://www.themorgan.org/photographs/374591\" target=\"_blank\" rel=\"noopener\">Sheryl Sutton\u003c/a>’s powerful forward pose resonates with an intimate portrait of \u003ca href=\"https://www.themorgan.org/photographs/374625\" target=\"_blank\" rel=\"noopener\">David Levithan\u003c/a> in bed and a \u003ca href=\"http://peterhujararchive.com/images/eph_0752-2/\" target=\"_blank\" rel=\"noopener\">mountainous landscape\u003c/a> scene captured during his travels throughout Italy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the gallery’s anterior wall, a group of six photographs convey Hujar’s attention to what is hidden, and what is revealed. Portraits of artists Gary Indiana and \u003ca href=\"http://peterhujararchive.com/images/eph_1488-1/\" target=\"_blank\" rel=\"noopener\">Stephen Varble\u003c/a>, adorned respectively with a sheer sequined scarf and chicken wire laden with money, imperfectly obscure their identities. Simultaneously, these adornments expose the repressive cultural biases relating to gender and sexual identity that Hujar and fellow artists openly challenged in their work. \u003c/p>\n\u003cfigure id=\"attachment_13837227\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled.jpg\" alt=\"Peter Hujar, 'Gary Indiana Veiled,' 1981.\" width=\"2048\" height=\"2036\" class=\"size-full wp-image-13837227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1200x1193.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1920x1909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1180x1173.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-960x954.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Gary Indiana Veiled,’ 1981. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Encountered individually, each photograph in a respective groups stands on its own aesthetic merit. Seen in groupings, however, the images offer greater insight to Hujar’s compositional methodology and interests. If groupings and the attendant didactic labels were offered throughout the exhibition, there would be little for viewers to discover on their own in Hujar’s work. DiQuinzio’s economic use of supplemental text opens a door just wide enough for curious viewers to step into Hujar’s creative realm.\u003c/p>\n\u003cp>If you’re wondering why you don’t know more about Peter Hujar, you’re on the right track. Hujar came of age professionally at a pivotal point in his chosen medium’s 20-century history. More than a century after the first photographic processes were invented, photography in the 1970s languished in the commercial art market as inferior to painting and sculpture. That status shifted just as Hujar hit his creative stride, when influential curators, art dealers and collectors advanced the medium’s cause through now-historic exhibitions and notable private and public sales.\u003c/p>\n\u003cfigure id=\"attachment_13837223\" class=\"wp-caption aligncenter\" style=\"max-width: 2005px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey.jpg\" alt=\"Peter Hujar, 'Fran Lebowitz at Home in Morristown, New Jersey,' 1974.\" width=\"2005\" height=\"2048\" class=\"size-full wp-image-13837223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey.jpg 2005w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1175x1200.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-64x64.jpg 64w\" sizes=\"(max-width: 2005px) 100vw, 2005px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Fran Lebowitz at Home in Morristown, New Jersey,’ 1974. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This sea change ultimately elevated the work of Hujar’s contemporaries—Nan Goldin and Robert Mapplethorpe most notably—as \u003cem>the\u003c/em> visual statements about life on the gritty and glorious edges of American society. During our interview, Apsara DiQuinzio noted that Hujar was notoriously combative, and shared writer Fran Lebowitz’s quote that the artist had “hung up on every important photography dealer in the western world.” Though the allure of institutional support and fame, not to mention financial stability, was potent, Hujar preferred to nurture on his own terms the creative fire that sustained him from the late 1950s on.\u003c/p>\n\u003cp>Rigorously researched and organized by the Morgan Library & Museum, \u003cem>Peter Hujar: The Speed of Life\u003c/em> is a welcome and long overdue account of a life dedicated to the perfection of personal vision. Once appreciated only by photography devotees, this exhibition situates Hujar and his singular work in the creative milieu that left him behind four decades ago.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Peter Hujar: The Speed of Life’\u003c/em> is on view at the Berkeley Art Museum and Pacific Film Archive through Nov. 18, 2018. \u003ca href=\"https://bampfa.org/program/peter-hujar-speed-life\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A welcome and long overdue retrospective of the late artist situates Hujar and his singular work in the creative milieu that left him behind four decades ago.",
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"title": "Peter Hujar Slows Down the 'Speed of Life' at BAMPFA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://bampfa.org/program/peter-hujar-speed-life\">\u003ci>Peter Hujar: Speed of Life\u003c/i>\u003c/a>, the elegantly staged photography retrospective recently landed in Berkeley, bears a poignant misnomer. For Hujar (1934-1987), portraying landscapes, animal studies and the personalities that lit up his professional and personal galaxy as they approached stardom was a way to slow, not accelerate, life’s heady pace amidst radical change in 1970s and ’80s New York. On view through mid-November at its only West Coast venue, the exhibition speaks to the singularity of artistic vision and the power of institutional influence to make, or break, a career.\u003c/p>\n\u003cp>Descending the museum’s wooden platform steps, viewers encounter the first suite of Hujar’s black-and-white photographs. Two rows of 12 images each feature the subjects that shaped the artist’s body of work—landscapes and cityscapes, portraiture, nudes, animal studies and still lifes—and recreate Hujar’s 1986 installation at Gracie Mansion Gallery in New York, the last presented in his lifetime. \u003c/p>\n\u003cp>Dividing an exhibition in this way, especially on the museum’s lower level, is a risk. As audiences wander through the museum’s rabbit-warren galleries, it’s possible to lose the visual thread that is first introduced. Curator Apsara DiQuinzio’s choice to isolate the first 24 photographs, however, is strategic: It presents the work as the artist preferred it to be seen, and introduces sequence as the force that guides the exhibition throughout. \u003c/p>\n\u003cfigure id=\"attachment_13837225\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose.jpg\" alt=\"Peter Hujar, 'Cockette John Rothermel in a Fashion Pose,' 1971.\" width=\"1022\" height=\"1024\" class=\"size-full wp-image-13837225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4_Cockette-John-Rothermel-in-Fashion-Pose-150x150.jpg 150w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Cockette John Rothermel in a Fashion Pose,’ 1971. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The span is engaging and daunting. What are we to make of a West Virginia draft horse paired with a portrait of photographer \u003ca href=\"https://www.themorgan.org/photographs/374587\" target=\"_blank\" rel=\"noopener\">Lynn Davis\u003c/a>, or an image of a severed bovine head coupled with an portrait of the late singer \u003ca href=\"http://peterhujararchive.com/images/epson-scanner-image-2/\" target=\"_blank\" rel=\"noopener\">Peggy Lee\u003c/a>? No discernible rhythm is evident, but a powerful sense of potential energy is.\u003c/p>\n\u003cp>Stepping into the primary installation, alternating grids and rows of images pick up the presentation scheme introduced in the museum’s atrium. Other than the labels that report basic information about each piece (title, date, dimensions, lending institution), there is little text provided. When it is present, often in the form of extended didactic labels, the text reveals important notes about Hujar’s practice. \u003c/p>\n\u003cfigure id=\"attachment_13837226\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building.jpg\" alt=\"Peter Hujar, 'From Rockefeller Center: The Equitable Building,' 1976.\" width=\"1024\" height=\"1010\" class=\"size-full wp-image-13837226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-960x947.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-520x513.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/5_From-Rockefeller-Center-The-Equitable-Building-96x96.jpg 96w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘From Rockefeller Center: The Equitable Building,’ 1976. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one example, DiQuinzio draws our attention to the artist’s appreciation for diagonal (top left to bottom right corner) compositions in a four-image arrangement at the center of the gallery’s long left wall. Dancer \u003ca href=\"https://www.themorgan.org/photographs/374591\" target=\"_blank\" rel=\"noopener\">Sheryl Sutton\u003c/a>’s powerful forward pose resonates with an intimate portrait of \u003ca href=\"https://www.themorgan.org/photographs/374625\" target=\"_blank\" rel=\"noopener\">David Levithan\u003c/a> in bed and a \u003ca href=\"http://peterhujararchive.com/images/eph_0752-2/\" target=\"_blank\" rel=\"noopener\">mountainous landscape\u003c/a> scene captured during his travels throughout Italy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the gallery’s anterior wall, a group of six photographs convey Hujar’s attention to what is hidden, and what is revealed. Portraits of artists Gary Indiana and \u003ca href=\"http://peterhujararchive.com/images/eph_1488-1/\" target=\"_blank\" rel=\"noopener\">Stephen Varble\u003c/a>, adorned respectively with a sheer sequined scarf and chicken wire laden with money, imperfectly obscure their identities. Simultaneously, these adornments expose the repressive cultural biases relating to gender and sexual identity that Hujar and fellow artists openly challenged in their work. \u003c/p>\n\u003cfigure id=\"attachment_13837227\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled.jpg\" alt=\"Peter Hujar, 'Gary Indiana Veiled,' 1981.\" width=\"2048\" height=\"2036\" class=\"size-full wp-image-13837227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1200x1193.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1920x1909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-1180x1173.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-960x954.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/6_Gary-Indiana-Veiled-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Gary Indiana Veiled,’ 1981. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Encountered individually, each photograph in a respective groups stands on its own aesthetic merit. Seen in groupings, however, the images offer greater insight to Hujar’s compositional methodology and interests. If groupings and the attendant didactic labels were offered throughout the exhibition, there would be little for viewers to discover on their own in Hujar’s work. DiQuinzio’s economic use of supplemental text opens a door just wide enough for curious viewers to step into Hujar’s creative realm.\u003c/p>\n\u003cp>If you’re wondering why you don’t know more about Peter Hujar, you’re on the right track. Hujar came of age professionally at a pivotal point in his chosen medium’s 20-century history. More than a century after the first photographic processes were invented, photography in the 1970s languished in the commercial art market as inferior to painting and sculpture. That status shifted just as Hujar hit his creative stride, when influential curators, art dealers and collectors advanced the medium’s cause through now-historic exhibitions and notable private and public sales.\u003c/p>\n\u003cfigure id=\"attachment_13837223\" class=\"wp-caption aligncenter\" style=\"max-width: 2005px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey.jpg\" alt=\"Peter Hujar, 'Fran Lebowitz at Home in Morristown, New Jersey,' 1974.\" width=\"2005\" height=\"2048\" class=\"size-full wp-image-13837223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey.jpg 2005w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1175x1200.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/1_Fran-Lebowitz-at-Home-in-Morristown-New-Jersey-64x64.jpg 64w\" sizes=\"(max-width: 2005px) 100vw, 2005px\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, ‘Fran Lebowitz at Home in Morristown, New Jersey,’ 1974. \u003ccite>(Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This sea change ultimately elevated the work of Hujar’s contemporaries—Nan Goldin and Robert Mapplethorpe most notably—as \u003cem>the\u003c/em> visual statements about life on the gritty and glorious edges of American society. During our interview, Apsara DiQuinzio noted that Hujar was notoriously combative, and shared writer Fran Lebowitz’s quote that the artist had “hung up on every important photography dealer in the western world.” Though the allure of institutional support and fame, not to mention financial stability, was potent, Hujar preferred to nurture on his own terms the creative fire that sustained him from the late 1950s on.\u003c/p>\n\u003cp>Rigorously researched and organized by the Morgan Library & Museum, \u003cem>Peter Hujar: The Speed of Life\u003c/em> is a welcome and long overdue account of a life dedicated to the perfection of personal vision. Once appreciated only by photography devotees, this exhibition situates Hujar and his singular work in the creative milieu that left him behind four decades ago.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Peter Hujar: The Speed of Life’\u003c/em> is on view at the Berkeley Art Museum and Pacific Film Archive through Nov. 18, 2018. \u003ca href=\"https://bampfa.org/program/peter-hujar-speed-life\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photographers Reveal Through Concealment in SFAC's 'Conversation 7'",
"headTitle": "Photographers Reveal Through Concealment in SFAC’s ‘Conversation 7’ | KQED",
"content": "\u003cp>It’s been five years since \u003ca href=\"https://www.kqed.org/arts/116932/the_work_of_jason_hanasik_and_berndnaut_smilde_in_conversation_at_san_francisco_arts_commission_gallery\" target=\"_blank\" rel=\"noopener\">the last \u003ci>Conversation\u003c/i> show\u003c/a> at the San Francisco Arts Commission, but it was worth the wait.\u003c/p>\n\u003cp>The series pairs a Bay Area artist with someone from “another point on the globe,” connecting the local art scene to the art world at large and creating new points of comparison for both practices.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/conversation-7\" target=\"_blank\" rel=\"noopener\">Conversation 7\u003c/a>\u003c/em> brings Bay Area-based artist \u003ca href=\"https://www.marcelapardo.com/\" target=\"_blank\" rel=\"noopener\">Marcela Pardo Ariza\u003c/a> and New York and Dubai-based artist \u003ca href=\"http://www.farahalqasimi.com/\" target=\"_blank\" rel=\"noopener\">Farah Al Qasimi\u003c/a> together for an exhibition of recent photographic works, many made expressly for this show. And while plenty of photography exhibitions welcome viewers into lush, often-private worlds, it’s less common to see, as we do here, works in which the subjects retain their agency.\u003c/p>\n\u003cfigure id=\"attachment_13837076\" class=\"wp-caption aligncenter\" style=\"max-width: 1922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200.jpg\" alt=\"Left: Farah Al Qasimi, 'S Folding Blanket,' 2016; Right: Marcela Pardo Ariza, 'Julie II' (from the 'VOIDS' series), 2018.\" width=\"1922\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200.jpg 1922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1200x788.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-520x341.jpg 520w\" sizes=\"(max-width: 1922px) 100vw, 1922px\">\u003cfigcaption class=\"wp-caption-text\">Left: Farah Al Qasimi, ‘S Folding Blanket,’ 2016; Right: Marcela Pardo Ariza, ‘Julie II’ (from the ‘VOIDS’ series), 2018. \u003ccite>(Courtesy of the Artist, Helena Anrather (New York), and The Third Line (Dubai))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Al Qasimi and Ariza’s work divide the gallery roughly in half, commonalities between the two artists’ photographs—and exhibition tactics—make for a cohesive viewing experience. Al Qasimi positions smaller works atop large pieces of printed vinyl, Ariza hangs framed portraits on brightly painted color-coordinated walls. Both artists use blankets or draped fabrics to make bodies strange. Clothing, textures and patterns alternately individualize their subjects and render them anonymous—or sometimes, camouflaged.\u003c/p>\n\u003cfigure id=\"attachment_13837078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640.jpg\" alt=\"Farah Al Qasimi, 'Gaith at Home,' 2016.\" width=\"640\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-520x674.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Farah Al Qasimi, ‘Gaith at Home,’ 2016. \u003ccite>(Courtesy of the Artist, Helena Anrather (New York), and The Third Line (Dubai))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Al Qasimi, born in Abu Dhabi, photographs friends and family members in the everyday environments of her communities both in the United Arab Emirates and the United States. The vinyl wall pieces nod to the illusionistic interior spaces in many of her photographs—a jungle mural on an office wall, a floor-to-ceiling landscape photo in \u003ci>China Mall Office\u003c/i> or the mirrored ceiling of \u003ci>Barber Shop (Gold)\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Punctuating these larger images are smaller, often intimate moments, like close-ups on bars of soap, or the quiet portrait of a man, eyes closed, dressed in white on a white bed in a white room. Only his hands, feet and face stand out against his surroundings—more than enough, it turns out, to convey a relaxed, contemplative mood.\u003c/p>\n\u003cp>\u003ci>M Napping on Carpet\u003c/i> similarly erases a subject’s body, this time with the help of swirling patterns. Al Qasimi’s subject lays with a hand thrown across her face, her clothing blending into the carpet below. Here, the thrilling moment of individuality comes from M’s iridescent vinyl lace-up stilettos, a pop of psychedelic and unexpected color against the carpet’s beige tones.\u003c/p>\n\u003cp>The shoes surprise partly because they’re shiny and vertiginous, but mostly because they don’t fit Western assumptions about the footwear of Arab and Southeast Asian women. Letting us into private spaces filled with thick carpets, patterned vases and ornate furniture, Al Qasimi also confronts the viewer with the distance between those quotidian settings and our own preconceived notions about the people and places she photographs.\u003c/p>\n\u003cfigure id=\"attachment_13837077\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.-FieraI_620.jpg\" alt=\"Marcela Pardo Ariza, 'Fiera I,' 2018.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Pardo Ariza, ‘Fiera I,’ 2018. \u003ccite>(Courtesy of the artist and SFAC Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Al Qasimi captures both subject and setting, Ariza’s work more forcefully zooms in on bodies, framing local queer performers in tight crops of faces, torsos and legs. The ongoing series, called \u003ci>Entre nos\u003c/i> (among us), presents portraits of Julie Tolentino, Xandra Ibarra, Grace Towers, Faluda Islam, Fíera and Juliana Delgado in glamorous makeup and costumes.\u003c/p>\n\u003cp>Another difference: Ariza’s subjects show much, much more skin. One of my notes in the exhibition brochure reads simply, “nipples and nails!” And because of these close-up views on inches of bare flesh, the small glitzy details of fashion—and each performer’s decision to don sequins, peacock feathers, platform shoes or colored contacts—take on greater significance.\u003c/p>\n\u003cp>Here the challenge is to represent the performers—bodies meant to be seen in motion—without the benefit of a moving image. Sequences of a single performer in different poses, cropped to different body parts, hint at their personas.\u003c/p>\n\u003cp>Ariza plays with this fragmentation, in a nice parallel to the prismatic effects in some of Al Qasimi’s work, in the two frames of \u003ci>Grace III\u003c/i>. Grace Towers’ lower half, seen from the back and front, meet each other in the middle, creating a diptych that is all legs, leather jock strap and patent leather platform heels.\u003c/p>\n\u003cp>And while segmented views of bodies can make those bodies seem less whole or less real, many of Ariza’s backdrops match the painted walls they’re hung upon, cannily pulling the performers out of a nebulous studio space and into the real world.\u003c/p>\n\u003cp>Ultimately, it’s what we don’t see in Al Qasimi and Ariza’s images that makes them so alluring. By skillfully obscuring faces, identities, body movements and larger narratives, the photographers point to the impossibility of depicting an entire community, a geographic region or even a particular performer’s signature style through their chosen medium. What is revealed—by the artists and their subjects—becomes all the more powerful for its vulnerability.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Conversation 7’ is on view at the San Francisco Arts Commission Galleries (401 Van Ness, Suite 126) through Aug. 26, 2018. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/conversation-7\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Marcela Paro Ariza portraits of queer performers and Farah Al Qasimi's images of Arab life form an unlikely but well-matched two-person show. ",
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"title": "Photographers Reveal Through Concealment in SFAC's 'Conversation 7' | KQED",
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"headline": "Photographers Reveal Through Concealment in SFAC's 'Conversation 7'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been five years since \u003ca href=\"https://www.kqed.org/arts/116932/the_work_of_jason_hanasik_and_berndnaut_smilde_in_conversation_at_san_francisco_arts_commission_gallery\" target=\"_blank\" rel=\"noopener\">the last \u003ci>Conversation\u003c/i> show\u003c/a> at the San Francisco Arts Commission, but it was worth the wait.\u003c/p>\n\u003cp>The series pairs a Bay Area artist with someone from “another point on the globe,” connecting the local art scene to the art world at large and creating new points of comparison for both practices.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/conversation-7\" target=\"_blank\" rel=\"noopener\">Conversation 7\u003c/a>\u003c/em> brings Bay Area-based artist \u003ca href=\"https://www.marcelapardo.com/\" target=\"_blank\" rel=\"noopener\">Marcela Pardo Ariza\u003c/a> and New York and Dubai-based artist \u003ca href=\"http://www.farahalqasimi.com/\" target=\"_blank\" rel=\"noopener\">Farah Al Qasimi\u003c/a> together for an exhibition of recent photographic works, many made expressly for this show. And while plenty of photography exhibitions welcome viewers into lush, often-private worlds, it’s less common to see, as we do here, works in which the subjects retain their agency.\u003c/p>\n\u003cfigure id=\"attachment_13837076\" class=\"wp-caption aligncenter\" style=\"max-width: 1922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200.jpg\" alt=\"Left: Farah Al Qasimi, 'S Folding Blanket,' 2016; Right: Marcela Pardo Ariza, 'Julie II' (from the 'VOIDS' series), 2018.\" width=\"1922\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200.jpg 1922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1200x788.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BlanketCombo_1200-520x341.jpg 520w\" sizes=\"(max-width: 1922px) 100vw, 1922px\">\u003cfigcaption class=\"wp-caption-text\">Left: Farah Al Qasimi, ‘S Folding Blanket,’ 2016; Right: Marcela Pardo Ariza, ‘Julie II’ (from the ‘VOIDS’ series), 2018. \u003ccite>(Courtesy of the Artist, Helena Anrather (New York), and The Third Line (Dubai))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Al Qasimi and Ariza’s work divide the gallery roughly in half, commonalities between the two artists’ photographs—and exhibition tactics—make for a cohesive viewing experience. Al Qasimi positions smaller works atop large pieces of printed vinyl, Ariza hangs framed portraits on brightly painted color-coordinated walls. Both artists use blankets or draped fabrics to make bodies strange. Clothing, textures and patterns alternately individualize their subjects and render them anonymous—or sometimes, camouflaged.\u003c/p>\n\u003cfigure id=\"attachment_13837078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640.jpg\" alt=\"Farah Al Qasimi, 'Gaith at Home,' 2016.\" width=\"640\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2.-Gaith-At-Home_640-520x674.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Farah Al Qasimi, ‘Gaith at Home,’ 2016. \u003ccite>(Courtesy of the Artist, Helena Anrather (New York), and The Third Line (Dubai))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Al Qasimi, born in Abu Dhabi, photographs friends and family members in the everyday environments of her communities both in the United Arab Emirates and the United States. The vinyl wall pieces nod to the illusionistic interior spaces in many of her photographs—a jungle mural on an office wall, a floor-to-ceiling landscape photo in \u003ci>China Mall Office\u003c/i> or the mirrored ceiling of \u003ci>Barber Shop (Gold)\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Punctuating these larger images are smaller, often intimate moments, like close-ups on bars of soap, or the quiet portrait of a man, eyes closed, dressed in white on a white bed in a white room. Only his hands, feet and face stand out against his surroundings—more than enough, it turns out, to convey a relaxed, contemplative mood.\u003c/p>\n\u003cp>\u003ci>M Napping on Carpet\u003c/i> similarly erases a subject’s body, this time with the help of swirling patterns. Al Qasimi’s subject lays with a hand thrown across her face, her clothing blending into the carpet below. Here, the thrilling moment of individuality comes from M’s iridescent vinyl lace-up stilettos, a pop of psychedelic and unexpected color against the carpet’s beige tones.\u003c/p>\n\u003cp>The shoes surprise partly because they’re shiny and vertiginous, but mostly because they don’t fit Western assumptions about the footwear of Arab and Southeast Asian women. Letting us into private spaces filled with thick carpets, patterned vases and ornate furniture, Al Qasimi also confronts the viewer with the distance between those quotidian settings and our own preconceived notions about the people and places she photographs.\u003c/p>\n\u003cfigure id=\"attachment_13837077\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.-FieraI_620.jpg\" alt=\"Marcela Pardo Ariza, 'Fiera I,' 2018.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.-FieraI_620-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Pardo Ariza, ‘Fiera I,’ 2018. \u003ccite>(Courtesy of the artist and SFAC Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Al Qasimi captures both subject and setting, Ariza’s work more forcefully zooms in on bodies, framing local queer performers in tight crops of faces, torsos and legs. The ongoing series, called \u003ci>Entre nos\u003c/i> (among us), presents portraits of Julie Tolentino, Xandra Ibarra, Grace Towers, Faluda Islam, Fíera and Juliana Delgado in glamorous makeup and costumes.\u003c/p>\n\u003cp>Another difference: Ariza’s subjects show much, much more skin. One of my notes in the exhibition brochure reads simply, “nipples and nails!” And because of these close-up views on inches of bare flesh, the small glitzy details of fashion—and each performer’s decision to don sequins, peacock feathers, platform shoes or colored contacts—take on greater significance.\u003c/p>\n\u003cp>Here the challenge is to represent the performers—bodies meant to be seen in motion—without the benefit of a moving image. Sequences of a single performer in different poses, cropped to different body parts, hint at their personas.\u003c/p>\n\u003cp>Ariza plays with this fragmentation, in a nice parallel to the prismatic effects in some of Al Qasimi’s work, in the two frames of \u003ci>Grace III\u003c/i>. Grace Towers’ lower half, seen from the back and front, meet each other in the middle, creating a diptych that is all legs, leather jock strap and patent leather platform heels.\u003c/p>\n\u003cp>And while segmented views of bodies can make those bodies seem less whole or less real, many of Ariza’s backdrops match the painted walls they’re hung upon, cannily pulling the performers out of a nebulous studio space and into the real world.\u003c/p>\n\u003cp>Ultimately, it’s what we don’t see in Al Qasimi and Ariza’s images that makes them so alluring. By skillfully obscuring faces, identities, body movements and larger narratives, the photographers point to the impossibility of depicting an entire community, a geographic region or even a particular performer’s signature style through their chosen medium. What is revealed—by the artists and their subjects—becomes all the more powerful for its vulnerability.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Conversation 7’ is on view at the San Francisco Arts Commission Galleries (401 Van Ness, Suite 126) through Aug. 26, 2018. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/conversation-7\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Three Identical Strangers': Nuanced Doc Tells A Gripping Tale — In Triplicate",
"headTitle": "‘Three Identical Strangers’: Nuanced Doc Tells A Gripping Tale — In Triplicate | KQED",
"content": "\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\u003c/p>\n\u003cp>https://youtu.be/uM5TQ4f7ycw\u003c/p>\n\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Toward the end of \u003cem>Three Identical Strangers\u003c/em> Wardle brings two brothers together to inspect new information about their past on a laptop. What they discover is disturbing enough, but what really breaks the viewer’s heart is the nervous unease with which they greet each other, two identical strangers who were once close but seem not to have met in a while, and who seem to have lost the one thing that we assume twins should be able to count on. Trust.\u003c/p>\n\n",
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"excerpt": "Filmmaker Tim Wardle reveals the fascinating story of three identical triplets who found one another by chance, and shows how the ensuing media circus, and long-buried secrets, took a toll on each.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\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/uM5TQ4f7ycw'\n title='//www.youtube.com/embed/uM5TQ4f7ycw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Twist\u003c/i> is everything you want out of a summer group show. Made up of thoughtful formal juxtapositions, irregular shapes and a hint of silliness, the four-person meditation on geometric abstraction is, in a word, sunny. \u003c/p>\n\u003cp>Maybe that’s my takeaway because I happened to view the exhibition just after noon on a weekday, when the design firm to which \u003ca href=\"https://jessicasilvermangallery.com/fused/\" rel=\"noopener\" target=\"_blank\">fused\u003c/a> (run by \u003ca href=\"https://jessicasilvermangallery.com/\" rel=\"noopener\" target=\"_blank\">Jessica Silverman Gallery\u003c/a>) serves as entryway was bustling. I saw not one, but three beautiful and well-behaved dogs moving in and out of the offices. Everyone was smiling.\u003c/p>\n\u003cp>But there’s more to that response than the circumstances of one viewing. With \u003ci>Twist\u003c/i>, curator \u003ca href=\"http://www.barretlybbert.com/\" rel=\"noopener\" target=\"_blank\">Barret Lybbert\u003c/a> gathers works that refuse to be reduced to any one descriptor. José León Cerrillo’s reliefs, made from vacuum-formed PVC, exist somewhere between poster and nonsensical sign. Reuven Israel’s sculptures look like elegant, functional lamps—but are not. Ruth Root’s “paintings” fit together custom-printed fabrics with painted Plexiglas. And the more one looks at Lisa Williamson’s wall works, the most hard-edged and ostensibly geometric of the bunch, they start to resemble highly abstracted body parts.\u003c/p>\n\u003cfigure id=\"attachment_13836785\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200.jpg\" alt=\"Lisa Williamson, 'Nerves' (left) and detail (right) 2017.\" width=\"2048\" height=\"1403\" class=\"size-full wp-image-13836785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1200x822.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1920x1315.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-520x356.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Williamson, ‘Nerves’ (left) and detail (right) 2017. \u003ccite>(Courtesy the artist and Tif Sigfrids Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes the works exciting (in addition to some truly eye-popping color choices) are the unexpected materials throughout. Williamson’s works are not made out of painted wood, as I first thought, but painted powder-coated aluminum. This fact renders the construction of \u003ci>Nerves\u003c/i>, an 80-inch tall panel dotted with shapes reminiscent of fluorescent red Devo hats, all the more impressive.\u003c/p>\n\u003cp>Cerrillo’s reliefs, printed with images of pointing fingers, strings of unintelligible text and bright rectangles of color, hint at wayfinding, but upon closer inspection reveal themselves to be extremely unhelpful. The slight misalignment of image and vacuum-formed surface—or, as in \u003ci>Echo 10\u003c/i>, the complete mismatch of the two—makes the lightweight work look like factory rejects or gibberish-filled test prints. \u003c/p>\n\u003cfigure id=\"attachment_13836780\" class=\"wp-caption aligncenter\" style=\"max-width: 1631px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1.jpg\" alt=\"José León Cerrillo, 'Echo 10,' 2017.\" width=\"1631\" height=\"2048\" class=\"size-full wp-image-13836780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1.jpg 1631w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-956x1200.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1920x2411.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1180x1481.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-960x1205.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-240x301.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-375x471.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-520x653.jpg 520w\" sizes=\"(max-width: 1631px) 100vw, 1631px\">\u003cfigcaption class=\"wp-caption-text\">José León Cerrillo, ‘Echo 10,’ 2017. \u003ccite>(Courtesy the artist and Andréhn-Schiptjenko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Israel’s three contributions to \u003ci>Twist\u003c/i>, two free-standing lamp-like sculptures and one mounted wall piece, benefit from close inspection and different vantage points. \u003ci>Back of the Black Slump\u003c/i>, isolated from the rest of the show at the bottom of the gallery’s stairs, stands at over eight feet tall. From below, the painted MDF shape mounted on two slim poles of coppered steel looks like a cartoonish cloud. Take a step back, and it’s a black mountain range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Israel’s \u003ci>Another Sunset\u003c/i>, the thrilling moment comes from the meeting place of two semi-circles, one projecting out from the wall, the other (fluorescent pink) flat against it. The upper curve cuts into the the top of the pink slice, creating a sculpture that is not just two items in juxtaposition, but a codependent whole in two parts.\u003c/p>\n\u003cp>The play between flat and, for lack of a better term, not flat is a running theme throughout the show. It’s there in Cerrillo’s reliefs, offering contrasts between printed image and raised surface. But it’s also in Root’s use of matte spray paint and glossy strips of enamel paint. Her shaped wall pieces, their upper halves covered in fabric, resemble the die-cut forms of flattened packaging destined to become complicated three-dimensional boxes. The elements connect and overlap in ingenious ways that made me want to take the paintings off the walls and figure out exactly how they fit together. \u003c/p>\n\u003cfigure id=\"attachment_13836781\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002.jpg\" alt=\"Installation view of 'Twist' with works by Reuven Israel, Lisa Williamson and Ruth Root.\" width=\"2048\" height=\"1362\" class=\"size-full wp-image-13836781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-520x346.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Twist’ with works by Reuven Israel, Lisa Williamson and Ruth Root. \u003ccite>(Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In two of Root’s pieces, the fabric portions deliver repeating patterns designed by the artist herself, creating microcosms of shape and color that could be miniature versions of the works as a whole. The mechanical repetition of print, sitting above rows and rows of handmade dots of black and white spray paint, blend together like joyful bursts of confetti. \u003c/p>\n\u003cp>Even if there isn’t a parade of dogs awaiting your arrival at fused, and even if the sun isn’t slanting through the skylight to land just so on the absurdly small cone atop Israel’s \u003ci>Out of the Blue\u003c/i>, know that the inanimate works currently within its walls will do their best to offer you celebratory splashes of color, amusing combinations of shapes and indefatigably sunny interpretations of geometric abstraction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Twist’ is on view at fused in San Francisco (1401 16th Street) through Sept. 28, 2018. \u003ca href=\"https://jessicasilvermangallery.com/fused/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"headline": "A Sunny Summer Group Show, With a 'Twist'",
"datePublished": "2018-07-10T08:00:27-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Twist\u003c/i> is everything you want out of a summer group show. Made up of thoughtful formal juxtapositions, irregular shapes and a hint of silliness, the four-person meditation on geometric abstraction is, in a word, sunny. \u003c/p>\n\u003cp>Maybe that’s my takeaway because I happened to view the exhibition just after noon on a weekday, when the design firm to which \u003ca href=\"https://jessicasilvermangallery.com/fused/\" rel=\"noopener\" target=\"_blank\">fused\u003c/a> (run by \u003ca href=\"https://jessicasilvermangallery.com/\" rel=\"noopener\" target=\"_blank\">Jessica Silverman Gallery\u003c/a>) serves as entryway was bustling. I saw not one, but three beautiful and well-behaved dogs moving in and out of the offices. Everyone was smiling.\u003c/p>\n\u003cp>But there’s more to that response than the circumstances of one viewing. With \u003ci>Twist\u003c/i>, curator \u003ca href=\"http://www.barretlybbert.com/\" rel=\"noopener\" target=\"_blank\">Barret Lybbert\u003c/a> gathers works that refuse to be reduced to any one descriptor. José León Cerrillo’s reliefs, made from vacuum-formed PVC, exist somewhere between poster and nonsensical sign. Reuven Israel’s sculptures look like elegant, functional lamps—but are not. Ruth Root’s “paintings” fit together custom-printed fabrics with painted Plexiglas. And the more one looks at Lisa Williamson’s wall works, the most hard-edged and ostensibly geometric of the bunch, they start to resemble highly abstracted body parts.\u003c/p>\n\u003cfigure id=\"attachment_13836785\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200.jpg\" alt=\"Lisa Williamson, 'Nerves' (left) and detail (right) 2017.\" width=\"2048\" height=\"1403\" class=\"size-full wp-image-13836785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1200x822.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1920x1315.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Williamson_Nerves-2016_Combo_1200-520x356.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Williamson, ‘Nerves’ (left) and detail (right) 2017. \u003ccite>(Courtesy the artist and Tif Sigfrids Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes the works exciting (in addition to some truly eye-popping color choices) are the unexpected materials throughout. Williamson’s works are not made out of painted wood, as I first thought, but painted powder-coated aluminum. This fact renders the construction of \u003ci>Nerves\u003c/i>, an 80-inch tall panel dotted with shapes reminiscent of fluorescent red Devo hats, all the more impressive.\u003c/p>\n\u003cp>Cerrillo’s reliefs, printed with images of pointing fingers, strings of unintelligible text and bright rectangles of color, hint at wayfinding, but upon closer inspection reveal themselves to be extremely unhelpful. The slight misalignment of image and vacuum-formed surface—or, as in \u003ci>Echo 10\u003c/i>, the complete mismatch of the two—makes the lightweight work look like factory rejects or gibberish-filled test prints. \u003c/p>\n\u003cfigure id=\"attachment_13836780\" class=\"wp-caption aligncenter\" style=\"max-width: 1631px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1.jpg\" alt=\"José León Cerrillo, 'Echo 10,' 2017.\" width=\"1631\" height=\"2048\" class=\"size-full wp-image-13836780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1.jpg 1631w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1020x1281.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-956x1200.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1920x2411.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-1180x1481.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-960x1205.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-240x301.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-375x471.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Cerrillo_Echo-10-2017_JLC0004PNT-1-520x653.jpg 520w\" sizes=\"(max-width: 1631px) 100vw, 1631px\">\u003cfigcaption class=\"wp-caption-text\">José León Cerrillo, ‘Echo 10,’ 2017. \u003ccite>(Courtesy the artist and Andréhn-Schiptjenko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Israel’s three contributions to \u003ci>Twist\u003c/i>, two free-standing lamp-like sculptures and one mounted wall piece, benefit from close inspection and different vantage points. \u003ci>Back of the Black Slump\u003c/i>, isolated from the rest of the show at the bottom of the gallery’s stairs, stands at over eight feet tall. From below, the painted MDF shape mounted on two slim poles of coppered steel looks like a cartoonish cloud. Take a step back, and it’s a black mountain range.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Israel’s \u003ci>Another Sunset\u003c/i>, the thrilling moment comes from the meeting place of two semi-circles, one projecting out from the wall, the other (fluorescent pink) flat against it. The upper curve cuts into the the top of the pink slice, creating a sculpture that is not just two items in juxtaposition, but a codependent whole in two parts.\u003c/p>\n\u003cp>The play between flat and, for lack of a better term, not flat is a running theme throughout the show. It’s there in Cerrillo’s reliefs, offering contrasts between printed image and raised surface. But it’s also in Root’s use of matte spray paint and glossy strips of enamel paint. Her shaped wall pieces, their upper halves covered in fabric, resemble the die-cut forms of flattened packaging destined to become complicated three-dimensional boxes. The elements connect and overlap in ingenious ways that made me want to take the paintings off the walls and figure out exactly how they fit together. \u003c/p>\n\u003cfigure id=\"attachment_13836781\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002.jpg\" alt=\"Installation view of 'Twist' with works by Reuven Israel, Lisa Williamson and Ruth Root.\" width=\"2048\" height=\"1362\" class=\"size-full wp-image-13836781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Twist-2018_fused-space_Installation-view-002-520x346.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Twist’ with works by Reuven Israel, Lisa Williamson and Ruth Root. \u003ccite>(Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In two of Root’s pieces, the fabric portions deliver repeating patterns designed by the artist herself, creating microcosms of shape and color that could be miniature versions of the works as a whole. The mechanical repetition of print, sitting above rows and rows of handmade dots of black and white spray paint, blend together like joyful bursts of confetti. \u003c/p>\n\u003cp>Even if there isn’t a parade of dogs awaiting your arrival at fused, and even if the sun isn’t slanting through the skylight to land just so on the absurdly small cone atop Israel’s \u003ci>Out of the Blue\u003c/i>, know that the inanimate works currently within its walls will do their best to offer you celebratory splashes of color, amusing combinations of shapes and indefatigably sunny interpretations of geometric abstraction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Twist’ is on view at fused in San Francisco (1401 16th Street) through Sept. 28, 2018. \u003ca href=\"https://jessicasilvermangallery.com/fused/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pure Visual Indulgence at the Legion of Honor's 'Truth and Beauty'",
"headTitle": "Pure Visual Indulgence at the Legion of Honor’s ‘Truth and Beauty’ | KQED",
"content": "\u003cp>\u003ci>Truth & Beauty: The Pre-Raphaelites and the Old Masters\u003c/i> is an escape. In the mausoleum-like lower galleries at the Legion of Honor, there are no windows to remind you of the outside world. There’s also no cell service, so those terrifying push notifications can’t reach you. Absent these external reminders, the galleries and their contents create a sense of timelessness, aided by the fact that they’re filled with art spanning nearly eight centuries. \u003c/p>\n\u003cp>The Pre-Raphaelite Brotherhood, formed in 1848 by art students at London’s Royal Academy (more on that unfortunate naming decision later), pulled unapologetically from the old masters in their quest to express “truth to nature.” This means, among the works spanning centuries, an echoing of style and subject matter blurs the lines between the very old and slightly less old. The paintings, textiles and prints of both the Pre-Raphaelites and the medieval and Renaissance artists they admired are full of vibrant colors, angular poses, dense symbolism and romantic scenes, amounting to six galleries of pure beauty. \u003c/p>\n\u003cfigure id=\"attachment_13836657\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg\" alt=\"John Roddam Spencer Stanhope, 'Love and the Maiden,' 1877.\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13836657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-520x358.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Roddam Spencer Stanhope, ‘Love and the Maiden,’ 1877. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we get too far into the contents of those galleries: the name. The Pre-Raphaelite Brotherhood formed a full 328 years \u003cem>after\u003c/em> the death of the Italian High Renaissance artist Raffaello Sanzio da Urbino (a.k.a. Raphael). Though these young art students did admire the work that came before Raphael, their primary stance was against the “Raphaelites,” the followers and imitators of Raphael who (they believed) regurgitated past methods without giving them new energy or significance. Being a Pre-Raphaelite meant returning to the primary source material—the old masters and nature itself. \u003c/p>\n\u003cp>The Legion of Honor exhibition, curated by the Fine Arts Museums’ Director of the Art Division Melissa Buron, focuses on three founding members of the “brotherhood,” William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, tracing their influences and protégées into the 20th century. The group took to heart the words of art critic (and Pre-Raphaelite champion) John Ruskin, to “go to nature in all singleness of heart … rejecting nothing, selecting nothing, and scorning nothing … and rejoicing always in the truth.”\u003c/p>\n\u003cfigure id=\"attachment_13836660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg\" alt=\"John Everett Millais, 'Mariana,' 1851.\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13836660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-979x1200.jpg 979w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1180x1446.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-960x1177.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-375x460.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-520x637.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Everett Millais, ‘Mariana,’ 1851. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early Pre-Raphaelite works, this meant precision. In the 1851 painting \u003ci>Mariana\u003c/i>, Millais depicts a character from Shakespeare’s \u003ci>Measure for Measure\u003c/i>, inspired by an Alfred, Lord Tennyson poem. The titular figure stands up from her floral needlework to stretch her back, leaves scattered around her workspace and outside her window. See, Millais seems to say, she too studies nature!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the women in the Pre-Raphaelites’ paintings engage in far less strenuous tasks. Rossetti’s redheads (most modeled after Jane Morris) brush their hair, drape their fingers across stringed instruments, hold pomegranates or branches, or simply fiddle with their jewelry, their milky necks arched and tilted to emphasize strong jawlines.\u003c/p>\n\u003cfigure id=\"attachment_13836654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg\" alt=\"Installation view of Sando Botticelli, 'Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),' ca. 1475.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13836654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sando Botticelli, ‘Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),’ ca. 1475. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to follow the path of visual influence from portraits by Sandro Botticelli and Paolo Veronese to these women, but to do so within the space of just a few galleries feels luxurious. Not even the Pre-Raphaelites had such ready access to the Renaissance paintings they so admired. In the era of Google image search, we forget about the many translations between painting, print and copy that transpired before artists in England might chance upon an image of an artwork in Italy. \u003c/p>\n\u003cp>Reproductions fed their practices. At their very first meeting, before any of the Pre-Raphaelites traveled abroad, Millais showed Hunt and Rossetti prints made after the frescoes in the Campo Santo in Pisa. The \u003ca href=\"http://www.vam.ac.uk/content/journals/conservation-journal/issue-23/the-arundel-society-techniques-in-the-art-of-copying/\" rel=\"noopener\" target=\"_blank\">Arundel Society\u003c/a>, founded by Ruskin in 1848, commissioned copies of European masterworks to promote a deeper understanding of art history. And while Edward Burne-Jones, a second-generation Pre-Raphaelite, frequently visited Italy to view Renaissance works firsthand, he also collected photographs of artworks, amassing several hundred prints by the 1870s with the help of traveling friends.\u003c/p>\n\u003cfigure id=\"attachment_13836656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg\" alt=\"Dante Gabriel Rossetti, 'Veronica Veronese,' 1872.\" width=\"1200\" height=\"1530\" class=\"size-full wp-image-13836656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1020x1301.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-941x1200.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1180x1505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-960x1224.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-240x306.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-375x478.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-520x663.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dante Gabriel Rossetti, ‘Veronica Veronese,’ 1872. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling from the past to make new things in the present is a cycle of inspiration and influence as old as art itself. But what’s rare and special about \u003ci>Truth & Beauty\u003c/i> is the level of visual indulgence involved. The show invites you to smother your eyeballs in oil and tempera renditions of luscious fabrics, to trace the curve of a neck and bask in the jewel tones of Hunt’s masterpiece show-closer, \u003ci>The Lady of Shalott\u003c/i>. In fact, the best way to view the exhibition is to adopt a languid pose of your own (\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Contrapposto\" rel=\"noopener\" target=\"_blank\">contrapposto\u003c/a>\u003c/em> if you like), absorb aesthetic lessons so powerful they continue to inform our everyday understandings of beauty, and allow yourself that oh-so-momentary escape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Truth & Beauty: The Pre-Raphaelites and the Old Masters’ is on view at the Legion of Honor through Sept. 30, 2018. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/truth-and-beauty-pre-raphaelites-and-old-masters\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Despite their endlessly confusing name, the Pre-Raphaelites reawakened interest in Renaissance masters and influenced generations of artists after them.",
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"title": "Pure Visual Indulgence at the Legion of Honor's 'Truth and Beauty' | KQED",
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"headline": "Pure Visual Indulgence at the Legion of Honor's 'Truth and Beauty'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Truth & Beauty: The Pre-Raphaelites and the Old Masters\u003c/i> is an escape. In the mausoleum-like lower galleries at the Legion of Honor, there are no windows to remind you of the outside world. There’s also no cell service, so those terrifying push notifications can’t reach you. Absent these external reminders, the galleries and their contents create a sense of timelessness, aided by the fact that they’re filled with art spanning nearly eight centuries. \u003c/p>\n\u003cp>The Pre-Raphaelite Brotherhood, formed in 1848 by art students at London’s Royal Academy (more on that unfortunate naming decision later), pulled unapologetically from the old masters in their quest to express “truth to nature.” This means, among the works spanning centuries, an echoing of style and subject matter blurs the lines between the very old and slightly less old. The paintings, textiles and prints of both the Pre-Raphaelites and the medieval and Renaissance artists they admired are full of vibrant colors, angular poses, dense symbolism and romantic scenes, amounting to six galleries of pure beauty. \u003c/p>\n\u003cfigure id=\"attachment_13836657\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg\" alt=\"John Roddam Spencer Stanhope, 'Love and the Maiden,' 1877.\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13836657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Roddam-Spencer-Stanhope_Love-and-the-Maiden_1877_1200-520x358.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Roddam Spencer Stanhope, ‘Love and the Maiden,’ 1877. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we get too far into the contents of those galleries: the name. The Pre-Raphaelite Brotherhood formed a full 328 years \u003cem>after\u003c/em> the death of the Italian High Renaissance artist Raffaello Sanzio da Urbino (a.k.a. Raphael). Though these young art students did admire the work that came before Raphael, their primary stance was against the “Raphaelites,” the followers and imitators of Raphael who (they believed) regurgitated past methods without giving them new energy or significance. Being a Pre-Raphaelite meant returning to the primary source material—the old masters and nature itself. \u003c/p>\n\u003cp>The Legion of Honor exhibition, curated by the Fine Arts Museums’ Director of the Art Division Melissa Buron, focuses on three founding members of the “brotherhood,” William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, tracing their influences and protégées into the 20th century. The group took to heart the words of art critic (and Pre-Raphaelite champion) John Ruskin, to “go to nature in all singleness of heart … rejecting nothing, selecting nothing, and scorning nothing … and rejoicing always in the truth.”\u003c/p>\n\u003cfigure id=\"attachment_13836660\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg\" alt=\"John Everett Millais, 'Mariana,' 1851.\" width=\"1200\" height=\"1471\" class=\"size-full wp-image-13836660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-979x1200.jpg 979w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-1180x1446.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-960x1177.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-375x460.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/John-Everett_Millais_Mariana_1851_1200-520x637.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Everett Millais, ‘Mariana,’ 1851. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early Pre-Raphaelite works, this meant precision. In the 1851 painting \u003ci>Mariana\u003c/i>, Millais depicts a character from Shakespeare’s \u003ci>Measure for Measure\u003c/i>, inspired by an Alfred, Lord Tennyson poem. The titular figure stands up from her floral needlework to stretch her back, leaves scattered around her workspace and outside her window. See, Millais seems to say, she too studies nature!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the women in the Pre-Raphaelites’ paintings engage in far less strenuous tasks. Rossetti’s redheads (most modeled after Jane Morris) brush their hair, drape their fingers across stringed instruments, hold pomegranates or branches, or simply fiddle with their jewelry, their milky necks arched and tilted to emphasize strong jawlines.\u003c/p>\n\u003cfigure id=\"attachment_13836654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg\" alt=\"Installation view of Sando Botticelli, 'Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),' ca. 1475.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13836654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018_TruthBeauty_PressPreview_V03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sando Botticelli, ‘Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph),’ ca. 1475. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to follow the path of visual influence from portraits by Sandro Botticelli and Paolo Veronese to these women, but to do so within the space of just a few galleries feels luxurious. Not even the Pre-Raphaelites had such ready access to the Renaissance paintings they so admired. In the era of Google image search, we forget about the many translations between painting, print and copy that transpired before artists in England might chance upon an image of an artwork in Italy. \u003c/p>\n\u003cp>Reproductions fed their practices. At their very first meeting, before any of the Pre-Raphaelites traveled abroad, Millais showed Hunt and Rossetti prints made after the frescoes in the Campo Santo in Pisa. The \u003ca href=\"http://www.vam.ac.uk/content/journals/conservation-journal/issue-23/the-arundel-society-techniques-in-the-art-of-copying/\" rel=\"noopener\" target=\"_blank\">Arundel Society\u003c/a>, founded by Ruskin in 1848, commissioned copies of European masterworks to promote a deeper understanding of art history. And while Edward Burne-Jones, a second-generation Pre-Raphaelite, frequently visited Italy to view Renaissance works firsthand, he also collected photographs of artworks, amassing several hundred prints by the 1870s with the help of traveling friends.\u003c/p>\n\u003cfigure id=\"attachment_13836656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg\" alt=\"Dante Gabriel Rossetti, 'Veronica Veronese,' 1872.\" width=\"1200\" height=\"1530\" class=\"size-full wp-image-13836656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1020x1301.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-941x1200.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-1180x1505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-960x1224.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-240x306.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-375x478.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Dante-Gabriel-Rossetti_Veronica-Veronese_1872_1200-520x663.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dante Gabriel Rossetti, ‘Veronica Veronese,’ 1872. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling from the past to make new things in the present is a cycle of inspiration and influence as old as art itself. But what’s rare and special about \u003ci>Truth & Beauty\u003c/i> is the level of visual indulgence involved. The show invites you to smother your eyeballs in oil and tempera renditions of luscious fabrics, to trace the curve of a neck and bask in the jewel tones of Hunt’s masterpiece show-closer, \u003ci>The Lady of Shalott\u003c/i>. In fact, the best way to view the exhibition is to adopt a languid pose of your own (\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Contrapposto\" rel=\"noopener\" target=\"_blank\">contrapposto\u003c/a>\u003c/em> if you like), absorb aesthetic lessons so powerful they continue to inform our everyday understandings of beauty, and allow yourself that oh-so-momentary escape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Truth & Beauty: The Pre-Raphaelites and the Old Masters’ is on view at the Legion of Honor through Sept. 30, 2018. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/truth-and-beauty-pre-raphaelites-and-old-masters\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elvis Documentary Comes For 'The King' — And Does Not Miss",
"headTitle": "Elvis Documentary Comes For ‘The King’ — And Does Not Miss | KQED",
"content": "\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\u003c/p>\n\u003cp>https://youtu.be/csXtdjsqYLM\u003c/p>\n\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
"link": "/radio/program/bbc-world-service",
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},
"californiareport": {
"id": "californiareport",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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