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"content": "\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\n\u003cp>https://youtu.be/mjKyGs-G6Sg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\n\u003cp>https://youtu.be/G13ZHx36l8M\u003c/p>\n\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\n\u003cp>https://youtu.be/suOgRZflPtk\u003c/p>\n\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\n\u003cp>https://youtu.be/bkU7Cl2SSvI\u003c/p>\n\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\n\u003cp>https://youtu.be/rGQUKzSDhrg\u003c/p>\n\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"excerpt": "In 'The LEGO Batman Movie,' the Dark Knight... lightens up. NPR critic Glen Weldon says it's only the latest example of the character cycling through phases of darkness and light.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\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/mjKyGs-G6Sg'\n title='//www.youtube.com/embed/mjKyGs-G6Sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\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/G13ZHx36l8M'\n title='//www.youtube.com/embed/G13ZHx36l8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\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/suOgRZflPtk'\n title='//www.youtube.com/embed/suOgRZflPtk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\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/bkU7Cl2SSvI'\n title='//www.youtube.com/embed/bkU7Cl2SSvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\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/rGQUKzSDhrg'\n title='//www.youtube.com/embed/rGQUKzSDhrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans and writers always tie singer and songwriter\u003cstrong> \u003c/strong>Hannah Lew’s dormant band to her current one and perhaps rightfully so; Grass Widow set the post-2010s post-punk scene on fire. But over the four years of its existence, San Francisco’s \u003ca href=\"http://www.npr.org/artists/514013187/cold-beat\">Cold Beat\u003c/a> has made simultaneously dynamic and atmospheric post-punk that plays to Lew’s songwriting acumen and surreal lyricism.\u003c/p>\n\u003cp>With the forthcoming \u003cem>Chaos By Invitation\u003c/em>, mostly recorded by Phil Manley (Trans Am) at El Studio, Lew and her band lean into their pop sensibilities more than ever, and bring a load of synths with them. “62 Moons” is the first single, a synth-pop song that swims in crystalline guitars a la Modern English, with a \u003ca href=\"https://en.wikipedia.org/wiki/Brill_Building_(genre)\" target=\"_blank\" rel=\"noopener\">Brill Building\u003c/a> romanticism. In its final minute, a wistful, whistling monosynth lead launches the track from Earth, as Lew exhales her “fade to black.”\u003c/p>\n\u003cp>Turns out space is the place for “62 Moons” — Lew says it’s “a song about love taken for granted, analogous to the 62 moons of Saturn, in constant loving orbit around a beautiful siren planet with many satellites.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=23PgtrBYOi8\u003c/p>\n\u003cp>\u003cem>Chaos By Invitation \u003c/em>comes out April 7 via \u003ca href=\"https://www.midheaven.com/label/crime-on-the-moon\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cold+Beat%27s+Dreamy+Synth-Pop+Song+%2762+Moons%27+Takes+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans and writers always tie singer and songwriter\u003cstrong> \u003c/strong>Hannah Lew’s dormant band to her current one and perhaps rightfully so; Grass Widow set the post-2010s post-punk scene on fire. But over the four years of its existence, San Francisco’s \u003ca href=\"http://www.npr.org/artists/514013187/cold-beat\">Cold Beat\u003c/a> has made simultaneously dynamic and atmospheric post-punk that plays to Lew’s songwriting acumen and surreal lyricism.\u003c/p>\n\u003cp>With the forthcoming \u003cem>Chaos By Invitation\u003c/em>, mostly recorded by Phil Manley (Trans Am) at El Studio, Lew and her band lean into their pop sensibilities more than ever, and bring a load of synths with them. “62 Moons” is the first single, a synth-pop song that swims in crystalline guitars a la Modern English, with a \u003ca href=\"https://en.wikipedia.org/wiki/Brill_Building_(genre)\" target=\"_blank\" rel=\"noopener\">Brill Building\u003c/a> romanticism. In its final minute, a wistful, whistling monosynth lead launches the track from Earth, as Lew exhales her “fade to black.”\u003c/p>\n\u003cp>Turns out space is the place for “62 Moons” — Lew says it’s “a song about love taken for granted, analogous to the 62 moons of Saturn, in constant loving orbit around a beautiful siren planet with many satellites.”\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/23PgtrBYOi8'\n title='//www.youtube.com/embed/23PgtrBYOi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Chaos By Invitation \u003c/em>comes out April 7 via \u003ca href=\"https://www.midheaven.com/label/crime-on-the-moon\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cold+Beat%27s+Dreamy+Synth-Pop+Song+%2762+Moons%27+Takes+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "R/SF Projects Displays a 'Premium Emporium' of Fabulous Faux Decadence",
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"content": "\u003cp>If you manage to escape the gravitational pull of hot butter smell emanating from Mr. Holmes bakeshop next door to \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, you’ll find yourself inside one of San Francisco’s newest artist-run galleries, a two-story storefront focused on “contemporary work, alternative projects and offbeat programming from the Bay Area’s emerging talent.”\u003c/p>\n\u003cp>The current exhibition, a solo show from San Francisco-based artist \u003ca href=\"http://hadar-kleiman.com/\" target=\"_blank\" rel=\"noopener\">Hadar Kleiman\u003c/a>, is a study in the display methods of luxury goods, appropriately titled \u003ci>Premium Emporium\u003c/i>. The show’s centerpiece is \u003ci>Mall Wall\u003c/i>, a viewing station, complete with a small bench, for an inset display of cast and found objects bounded by a faux-gold frame. Positioned diagonally in the gallery’s ground-floor space, \u003ci>Mall Wall\u003c/i> makes its construction — and artifice — fully visible, with raw wood supports, clamps and lighting fully on view behind the laminated wall.\u003c/p>\n\u003cfigure id=\"attachment_12731086\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/MallWall.jpg\" alt=\"Hadar Kleiman, Front and back of 'Mall Wall,' 2016.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-12731086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Front and back of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Premium Emporium\u003c/i> is rife with clever thematic and material connections. In the mezzanine space overlooking the ground-floor gallery, a trio of wall-mounted terrazzo diamonds, made by the artist with skills gleaned from YouTube demos, connect back to the downstairs sculpture \u003ci>Lingam\u003c/i>, a phallic ceramic piece supported by a pedestal wrapped in terrazzo-patterned adhesive film. \u003c/p>\n\u003cp>An outlier in the exhibition is \u003ci>If The Tooth Fits\u003c/i>, a sculpture of strange aesthetic decisions. Like \u003ci>Mall Wall\u003c/i>, it has two views. From the front, oversized yellow teeth set in lurid pink gums support a purple plywood roof. Viewed from behind, the roof contains a mirror and leaf-filled diorama, at the center of which sits a small cobra figurine. The entire sculpture rests atop a table that would fit neatly into the interior decorating scheme of a Mel’s Diner.\u003c/p>\n\u003cfigure id=\"attachment_12731085\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg\" alt=\"Hadar Kleiman, Detail of 'Mall Wall,' 2016.\" width=\"1000\" height=\"668\" class=\"size-full wp-image-12731085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Detail of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though fake foliage and images of pyramids and snakes appear elsewhere in the show, \u003ci>If The Tooth Fits\u003c/i> stands out as a singularly weird piece, a rare occurrence in the highly curated world of white cube spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amid the many textures, colors and material choices in \u003ci>Premium Emporium\u003c/i>, Kleiman demonstrates an impressive facility with her chosen supplies, easily incorporating synthetic fur, gold leaf glass tiles and a Corkcomfort floating floor into her examination of visual decadence and its many approximations. \u003c/p>\n\u003cp>Bonus points: After a visit to R/SF, follow your nose to gustatory decadence and sample \u003ca href=\"http://mrholmesbakehouse.com/locations/SF\" target=\"_blank\" rel=\"noopener\">Mr. Holmes\u003c/a>’ signature “cruffin,” a hybrid pastry covered in sugar and stuffed with a flavor-changing-daily creme.\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=\"Q.Logo.Break\" 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>\u003cb>Premium Emporium\u003c/b> is on view at R/SF projects in San Francisco through Feb. 26, 2017. For more information visit \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">rsfprojects.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you manage to escape the gravitational pull of hot butter smell emanating from Mr. Holmes bakeshop next door to \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, you’ll find yourself inside one of San Francisco’s newest artist-run galleries, a two-story storefront focused on “contemporary work, alternative projects and offbeat programming from the Bay Area’s emerging talent.”\u003c/p>\n\u003cp>The current exhibition, a solo show from San Francisco-based artist \u003ca href=\"http://hadar-kleiman.com/\" target=\"_blank\" rel=\"noopener\">Hadar Kleiman\u003c/a>, is a study in the display methods of luxury goods, appropriately titled \u003ci>Premium Emporium\u003c/i>. The show’s centerpiece is \u003ci>Mall Wall\u003c/i>, a viewing station, complete with a small bench, for an inset display of cast and found objects bounded by a faux-gold frame. 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The entire sculpture rests atop a table that would fit neatly into the interior decorating scheme of a Mel’s Diner.\u003c/p>\n\u003cfigure id=\"attachment_12731085\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg\" alt=\"Hadar Kleiman, Detail of 'Mall Wall,' 2016.\" width=\"1000\" height=\"668\" class=\"size-full wp-image-12731085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Detail of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though fake foliage and images of pyramids and snakes appear elsewhere in the show, \u003ci>If The Tooth Fits\u003c/i> stands out as a singularly weird piece, a rare occurrence in the highly curated world of white cube spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amid the many textures, colors and material choices in \u003ci>Premium Emporium\u003c/i>, Kleiman demonstrates an impressive facility with her chosen supplies, easily incorporating synthetic fur, gold leaf glass tiles and a Corkcomfort floating floor into her examination of visual decadence and its many approximations. \u003c/p>\n\u003cp>Bonus points: After a visit to R/SF, follow your nose to gustatory decadence and sample \u003ca href=\"http://mrholmesbakehouse.com/locations/SF\" target=\"_blank\" rel=\"noopener\">Mr. Holmes\u003c/a>’ signature “cruffin,” a hybrid pastry covered in sugar and stuffed with a flavor-changing-daily creme.\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=\"Q.Logo.Break\" 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>\u003cb>Premium Emporium\u003c/b> is on view at R/SF projects in San Francisco through Feb. 26, 2017. For more information visit \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">rsfprojects.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Town-Hall Feel at 'The Art of Resistance' in Santa Rosa",
"headTitle": "A Town-Hall Feel at ‘The Art of Resistance’ in Santa Rosa | KQED",
"content": "\u003cp>Any art exhibit positioning itself the definitive single response to Trump’s election is — pardon the reference — an alternative fact. As the country undergoes a staggering shift, the scale of which becomes more evident each day, trying to count valid responses would be an exercise mirroring census-taking, each one different.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A new exhibit in Santa Rosa knows this. With the work of 30 artists in the narrow confines of Backstreet Gallery, \u003cem>The Art of Resistance\u003c/em> feels like a town hall meeting of different voices, trying to make logical and emotional sense of this confusing national moment. The show, organized but not juried by artist Suzanne Edminster, came with only one rule: all art must have been created after Nov. 8, 2016.\u003c/p>\n\u003cp>At the opening reception, rain didn’t stop shoulder-to-shoulder attendance. “There’s been a cultural climate change now,” Edminster told attendees at one point, “and artists have to fight against that.”\u003c/p>\n\u003cfigure id=\"attachment_12726994\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg\" alt=\"'Heart Broken,' Kate E. Black, 2017.\" width=\"960\" height=\"766\" class=\"size-full wp-image-12726994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-520x415.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Heart Broken,’ Kate E. Black, 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>At the door, I was handed a postcard to send to elected representatives; inside the narrow gallery, packed with people, a table offered Cheetos dipped in “shredded democra-cheese.” Yet little of the art was activist-oriented, like the postcard, or overtly humorous, like the Cheetos. Most of it simply captured an emotional reaction, and not necessarily to Trump himself but to a broken national discourse. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take Kristen Throop’s readymade cuckoo clocks, for example. At the beginning of last year, the Santa Rosa artist found herself fascinated with cuckoo clocks, buying them in various states of disrepair with the intention of fixing them herself. Over time, she accepted that their many moving parts were too complicated, or proprietary. Then the election happened. She realized that, like her dormant clocks, democracy had become overnight a fragile, beloved thing that she didn’t have the means to fix. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg\" alt=\"CuckooClocks\" width=\"800\" height=\"532\" class=\"aligncenter size-medium wp-image-12726995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In cards, each of Throop’s broken clocks is titled with notes: \u003cem>Equal Justice\u003c/em>, reads one, “Needs to have weight.” \u003cem>Gun Control (clock from Newton CT)\u003c/em> reads another, “Bellows need to be reinstalled to be heard.” One titled \u003cem>Intelligent Political Discourse\u003c/em> is “A musical clock, x-tra hard to fix.” With each purchase of a clock comes a bag of needed repair parts, along with a copy of the Constitution. (Until they’re fixed, there’s no telling how often they’ll tweet.)\u003c/p>\n\u003cp>Among the more humorous pieces is Tony Spiers’ \u003cem>I.D.K.\u003c/em>, showing \u003cem>My Little Pony\u003c/em>’s Rainbow Dash in a classic ¯\\_(ツ)_/¯ pose. And weren’t we just talking about tweeting? There’s a bird in the piece, too, and a young bobbysoxer from the 1930s. Spiers painted it immediately after the election: “This is me asking ‘now what?’ and realizing I don’t know,” he writes. “But initial shock and confusion has rapidly morphed into resolve and resistance.”\u003c/p>\n\u003cfigure id=\"attachment_12726996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg\" alt=\"Tony Speirs, 'I.D.K.,' 2017.\" width=\"800\" height=\"797\" class=\"size-medium wp-image-12726996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Speirs, ‘I.D.K.,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, much of the show captures the moment of doubt and confusion. Max Dubois’ painting \u003cem>Desultory Agenda U S A\u003c/em> calls to mind a circuit board whose capacitors and resistors have yet to forge solid connections. Kate E. Black’s \u003cem>Heart Broken\u003c/em> is a painting peppered with words like “liberty” and “freedom,” all appended with question marks, which change the meaning of the entire piece. \u003c/p>\n\u003cp>Far too easy to overlook amidst all the work is \u003cem>Complacency is a Deadly Sin\u003c/em>, a necklace from Michelle Hoting. Created with red-and-white star-spangled beads from 1945 occupied Japan, and three Hear No Evil / See No Evil / Speak No Evil rabbits carved of bone from circa-1940 China, the piece is a beautiful but weighty reminder of what can happen in the world when power goes unchecked.\u003c/p>\n\u003cfigure id=\"attachment_12726997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg\" alt=\"Michelle Hoting, 'Complacency is a Deadly Sin,' 2017.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12726997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hoting, ‘Complacency is a Deadly Sin,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Is \u003cem>The Art of Resistance\u003c/em> an effective check of power? In its way, yes, it is, but the question is all wrong. More to the moment, one might ask: does it symbolize the unifying role of art at a much-divided time? Certainly — even with its varying subjects and methods. Any lack of coherence on the part of the show is forgiven, welcome, even. Is there anything coherent about this time in our country?\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=\"Q.Logo.Break\" 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>‘The Art of Resistance’ is open Saturdays through February, noon-5pm, with a closing reception on Friday, March 3, from 5pm-8pm. Details and more information can be found \u003ca href=\"https://www.facebook.com/events/368030146900328/?active_tab=about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "By reacting quickly, 'The Art of Resistance' at Backstreet Gallery captures a cultural moment through 30 artists' work — all created after Nov. 8, 2016.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Any art exhibit positioning itself the definitive single response to Trump’s election is — pardon the reference — an alternative fact. As the country undergoes a staggering shift, the scale of which becomes more evident each day, trying to count valid responses would be an exercise mirroring census-taking, each one different.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A new exhibit in Santa Rosa knows this. With the work of 30 artists in the narrow confines of Backstreet Gallery, \u003cem>The Art of Resistance\u003c/em> feels like a town hall meeting of different voices, trying to make logical and emotional sense of this confusing national moment. The show, organized but not juried by artist Suzanne Edminster, came with only one rule: all art must have been created after Nov. 8, 2016.\u003c/p>\n\u003cp>At the opening reception, rain didn’t stop shoulder-to-shoulder attendance. “There’s been a cultural climate change now,” Edminster told attendees at one point, “and artists have to fight against that.”\u003c/p>\n\u003cfigure id=\"attachment_12726994\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg\" alt=\"'Heart Broken,' Kate E. Black, 2017.\" width=\"960\" height=\"766\" class=\"size-full wp-image-12726994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-520x415.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Heart Broken,’ Kate E. Black, 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>At the door, I was handed a postcard to send to elected representatives; inside the narrow gallery, packed with people, a table offered Cheetos dipped in “shredded democra-cheese.” Yet little of the art was activist-oriented, like the postcard, or overtly humorous, like the Cheetos. Most of it simply captured an emotional reaction, and not necessarily to Trump himself but to a broken national discourse. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take Kristen Throop’s readymade cuckoo clocks, for example. At the beginning of last year, the Santa Rosa artist found herself fascinated with cuckoo clocks, buying them in various states of disrepair with the intention of fixing them herself. Over time, she accepted that their many moving parts were too complicated, or proprietary. Then the election happened. She realized that, like her dormant clocks, democracy had become overnight a fragile, beloved thing that she didn’t have the means to fix. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg\" alt=\"CuckooClocks\" width=\"800\" height=\"532\" class=\"aligncenter size-medium wp-image-12726995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In cards, each of Throop’s broken clocks is titled with notes: \u003cem>Equal Justice\u003c/em>, reads one, “Needs to have weight.” \u003cem>Gun Control (clock from Newton CT)\u003c/em> reads another, “Bellows need to be reinstalled to be heard.” One titled \u003cem>Intelligent Political Discourse\u003c/em> is “A musical clock, x-tra hard to fix.” With each purchase of a clock comes a bag of needed repair parts, along with a copy of the Constitution. (Until they’re fixed, there’s no telling how often they’ll tweet.)\u003c/p>\n\u003cp>Among the more humorous pieces is Tony Spiers’ \u003cem>I.D.K.\u003c/em>, showing \u003cem>My Little Pony\u003c/em>’s Rainbow Dash in a classic ¯\\_(ツ)_/¯ pose. And weren’t we just talking about tweeting? There’s a bird in the piece, too, and a young bobbysoxer from the 1930s. Spiers painted it immediately after the election: “This is me asking ‘now what?’ and realizing I don’t know,” he writes. “But initial shock and confusion has rapidly morphed into resolve and resistance.”\u003c/p>\n\u003cfigure id=\"attachment_12726996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg\" alt=\"Tony Speirs, 'I.D.K.,' 2017.\" width=\"800\" height=\"797\" class=\"size-medium wp-image-12726996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Speirs, ‘I.D.K.,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, much of the show captures the moment of doubt and confusion. Max Dubois’ painting \u003cem>Desultory Agenda U S A\u003c/em> calls to mind a circuit board whose capacitors and resistors have yet to forge solid connections. Kate E. Black’s \u003cem>Heart Broken\u003c/em> is a painting peppered with words like “liberty” and “freedom,” all appended with question marks, which change the meaning of the entire piece. \u003c/p>\n\u003cp>Far too easy to overlook amidst all the work is \u003cem>Complacency is a Deadly Sin\u003c/em>, a necklace from Michelle Hoting. Created with red-and-white star-spangled beads from 1945 occupied Japan, and three Hear No Evil / See No Evil / Speak No Evil rabbits carved of bone from circa-1940 China, the piece is a beautiful but weighty reminder of what can happen in the world when power goes unchecked.\u003c/p>\n\u003cfigure id=\"attachment_12726997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg\" alt=\"Michelle Hoting, 'Complacency is a Deadly Sin,' 2017.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12726997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hoting, ‘Complacency is a Deadly Sin,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Is \u003cem>The Art of Resistance\u003c/em> an effective check of power? In its way, yes, it is, but the question is all wrong. More to the moment, one might ask: does it symbolize the unifying role of art at a much-divided time? Certainly — even with its varying subjects and methods. Any lack of coherence on the part of the show is forgiven, welcome, even. Is there anything coherent about this time in our country?\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=\"Q.Logo.Break\" 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>‘The Art of Resistance’ is open Saturdays through February, noon-5pm, with a closing reception on Friday, March 3, from 5pm-8pm. Details and more information can be found \u003ca href=\"https://www.facebook.com/events/368030146900328/?active_tab=about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "James Baldwin, In His Own Searing, Revelatory Words: 'I Am Not Your Negro'",
"headTitle": "James Baldwin, In His Own Searing, Revelatory Words: ‘I Am Not Your Negro’ | KQED",
"content": "\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\u003c/p>\n\u003cp>https://youtu.be/rNUYdgIyaPM\u003c/p>\n\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\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/rNUYdgIyaPM'\n title='//www.youtube.com/embed/rNUYdgIyaPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Iranian writer-director Asghar Farhadi’s impeccable \u003cem>A Separation\u003c/em>, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, \u003cem>The Past\u003c/em>. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of \u003cem>Death of a Salesman\u003c/em>. The parallels with that Arthur Miller play that arise over the course of the film are one reason Farhadi titled it \u003cem>The Salesman\u003c/em>.\u003c/p>\n\u003cp>Rehearsing to play Willie and Linda Loman are another married couple, Emad and Rana (Shahab Hosseini and Taraneh Alidoosti, both exemplary). Emad teaches literature and film to high school boys, which allows Farhadi to include a bit of \u003cem>The Cow\u003c/em>, the 1969 movie considered the first of the Iranian new wave.\u003c/p>\n\u003cp>As the play’s premiere looms, a certain amount of backstage uproar is to be expected. Censors may trim some of Miller’s text, and an actress complains about having to be fully covered while playing a scene in which her character says she’s half-dressed. But such disorder is insignificant compared to the chaos that rattles the lead actors’ offstage life.\u003c/p>\n\u003cp>https://youtu.be/WlKN5PBVLN8\u003c/p>\n\u003cp>Emad and Rana must suddenly flee their apartment after construction on a neighboring site threatens to collapse the building. Walls crack and windows break in a visceral scene that’s also a metaphor for an upcoming disruption of domestic tranquility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Two Solos at Traywick Contemporary Bound by More than Just Quiet Grace",
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"content": "\u003cp>Inside a former Masonic temple in the Thousand Oaks neighborhood of Berkeley, \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">Traywick Contemporary\u003c/a> is technically an “apartment gallery.” That is, if you had a massive white-walled space in your home reserved solely for the exhibition of art. Despite its high ceilings and the impossibly uncluttered public living spaces, Traywick provides a setting for a more casual art-viewing experience. It’s a welcoming environment honed over 20 years of operation. \u003c/p>\n\u003cp>In celebration of their two decades in the gallery business, Traywick’s 2017 programming is meant for “old friends and new audiences,” a possible hint at an inter-generational approach. It is fitting, then, that the initial solo shows from Steuart Pittman and John Fraser link both aesthetically and in the artists’ personal histories.\u003c/p>\n\u003cfigure id=\"attachment_12709508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg\" alt=\"Steuart Pittman, 'Sports Bro,' 2016.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-12709508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1180x884.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-960x719.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-520x390.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steuart Pittman, ‘Sports Bro,’ 2016. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Pittman presents \u003ci>\u003ca href=\"http://www.traywick.com/2017/steuart-pittman/\" target=\"_blank\" rel=\"noopener\">The Twist\u003c/a>\u003c/i>, a group of meticulous abstract paintings, their simple silhouettes belying the artist’s careful consideration of surface, color and framing. Pittman’s shapes have straight, curved and ragged sides (like the tear of a magazine page or the terrain of a mountain range). All edges are hard, clearly delineating shape from ground. Many of the compositions have a jaunty quality, helped in no small part by Pittman’s titles: \u003ci>Earth Angel\u003c/i>, \u003ci>Sports Bro\u003c/i>, \u003ci>Lounge Act\u003c/i>.\u003c/p>\n\u003cp>In contrast, the titles of works in Fraser’s \u003ci>\u003ca href=\"http://www.traywick.com/2017/john-fraser/\" target=\"_blank\" rel=\"noopener\">Ecru\u003c/a>\u003c/i>, all made over the past six years, often reference their own structures. \u003ci>(Measured) Four-Part Horizon\u003c/i> contains a repurposed ruler and four separate panels of varying heights. Fraser also has a penchant for Roman numerals, a testament to the artist’s iterative practice. \u003c/p>\n\u003cfigure id=\"attachment_12709506\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg\" alt=\"John Fraser, 'Cul De Sac (Blue Vertical),' 2010.\" width=\"1180\" height=\"1200\" class=\"size-full wp-image-12709506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-160x163.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-800x814.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-768x781.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-1020x1037.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-960x976.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-240x244.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-375x381.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-520x529.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-64x64.jpeg 64w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">John Fraser, ‘Cul De Sac (Blue Vertical),’ 2010. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using found books stripped of their pages and spread-eagle, his works become meditations on units of measurement, the rectilinear shapes of bookbinding shifting and multiplying across collaged surfaces. \u003ci>Cul De Sac (Blue Vertical)\u003c/i> is, to use the artist’s own term, the most “baroque” of his pieces, with a rectangle of blue punctuating the mellow grays, creams and browns of the construction on panel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The satisfying reveal of the artists’ pairing is the fact that they know each other well. Pittman, who grew up outside of Chicago, was Fraser’s studio assistant for several years. He even titles one of his works \u003ci>Quadruple Quarter-Round (For Fraser)\u003c/i>. Yet the power dynamics of that past relationship dissolve completely in mix of the exhibitions, where the parallels between two artists relentlessly pursuing their own visual vocabularies unfold with quiet grace. \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=\"Q.Logo.Break\" 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>‘Ecru’ and ‘The Twist’ are on view at Traywick Contemporary in Berkeley through March 25, 2017. For more information, see \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a former Masonic temple in the Thousand Oaks neighborhood of Berkeley, \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">Traywick Contemporary\u003c/a> is technically an “apartment gallery.” That is, if you had a massive white-walled space in your home reserved solely for the exhibition of art. Despite its high ceilings and the impossibly uncluttered public living spaces, Traywick provides a setting for a more casual art-viewing experience. It’s a welcoming environment honed over 20 years of operation. \u003c/p>\n\u003cp>In celebration of their two decades in the gallery business, Traywick’s 2017 programming is meant for “old friends and new audiences,” a possible hint at an inter-generational approach. It is fitting, then, that the initial solo shows from Steuart Pittman and John Fraser link both aesthetically and in the artists’ personal histories.\u003c/p>\n\u003cfigure id=\"attachment_12709508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg\" alt=\"Steuart Pittman, 'Sports Bro,' 2016.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-12709508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1180x884.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-960x719.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-520x390.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steuart Pittman, ‘Sports Bro,’ 2016. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Pittman presents \u003ci>\u003ca href=\"http://www.traywick.com/2017/steuart-pittman/\" target=\"_blank\" rel=\"noopener\">The Twist\u003c/a>\u003c/i>, a group of meticulous abstract paintings, their simple silhouettes belying the artist’s careful consideration of surface, color and framing. Pittman’s shapes have straight, curved and ragged sides (like the tear of a magazine page or the terrain of a mountain range). All edges are hard, clearly delineating shape from ground. Many of the compositions have a jaunty quality, helped in no small part by Pittman’s titles: \u003ci>Earth Angel\u003c/i>, \u003ci>Sports Bro\u003c/i>, \u003ci>Lounge Act\u003c/i>.\u003c/p>\n\u003cp>In contrast, the titles of works in Fraser’s \u003ci>\u003ca href=\"http://www.traywick.com/2017/john-fraser/\" target=\"_blank\" rel=\"noopener\">Ecru\u003c/a>\u003c/i>, all made over the past six years, often reference their own structures. \u003ci>(Measured) Four-Part Horizon\u003c/i> contains a repurposed ruler and four separate panels of varying heights. Fraser also has a penchant for Roman numerals, a testament to the artist’s iterative practice. \u003c/p>\n\u003cfigure id=\"attachment_12709506\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg\" alt=\"John Fraser, 'Cul De Sac (Blue Vertical),' 2010.\" width=\"1180\" height=\"1200\" class=\"size-full wp-image-12709506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-160x163.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-800x814.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-768x781.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-1020x1037.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-960x976.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-240x244.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-375x381.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-520x529.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-64x64.jpeg 64w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">John Fraser, ‘Cul De Sac (Blue Vertical),’ 2010. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using found books stripped of their pages and spread-eagle, his works become meditations on units of measurement, the rectilinear shapes of bookbinding shifting and multiplying across collaged surfaces. \u003ci>Cul De Sac (Blue Vertical)\u003c/i> is, to use the artist’s own term, the most “baroque” of his pieces, with a rectangle of blue punctuating the mellow grays, creams and browns of the construction on panel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The satisfying reveal of the artists’ pairing is the fact that they know each other well. Pittman, who grew up outside of Chicago, was Fraser’s studio assistant for several years. He even titles one of his works \u003ci>Quadruple Quarter-Round (For Fraser)\u003c/i>. Yet the power dynamics of that past relationship dissolve completely in mix of the exhibitions, where the parallels between two artists relentlessly pursuing their own visual vocabularies unfold with quiet grace. \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=\"Q.Logo.Break\" 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>‘Ecru’ and ‘The Twist’ are on view at Traywick Contemporary in Berkeley through March 25, 2017. For more information, see \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage",
"headTitle": "‘Fun Home’ Musical Puts Alison Bechdel’s Coming Out Story on Stage | KQED",
"content": "\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Breaking News' Artists use Mass Media as their Medium",
"headTitle": "‘Breaking News’ Artists use Mass Media as their Medium | KQED",
"content": "\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "An exhibition in Los Angeles features some 200 works of news-inspired art, dating back to the 1960s. Many of the images are disturbing; \"Art is more than a pretty picture,\" says curator Arpad Kovacs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oft-Maligned Sex Workers Defy Judgment in ‘We’re Still Working’",
"headTitle": "Oft-Maligned Sex Workers Defy Judgment in ‘We’re Still Working’ | KQED",
"content": "\u003cp>Sex work in San Francisco is as old at the city itself.\u003c/p>\n\u003cp>From the Gold Rush-era brothels that made the \u003ca href=\"http://www.marinatimes.com/2012/04/a-short-history-of-bordellos-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Barbary Coast\u003c/a> infamous to the protests that forced LGBTQ rights and HIV/AIDS awareness to the front of our civic consciousness in the darkest days of the epidemic, a through-line is clear: Sex workers have fought for our right to bodily autonomy. The people who advance that rich legacy are celebrated in \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a>, a stellar exhibition at SOMArts Cultural Center, on view through Feb. 25.\u003c/p>\n\u003cp>\u003cem>We’re Still Working\u003c/em> is the first show of the year, and the second built out of the 2016-17 cohort that participated in the organization’s innovative \u003ca href=\"http://www.somarts.org/exhibitions/submissions/\" target=\"_blank\" rel=\"noopener\">Curatorial Residency\u003c/a>, which blossomed under the tenure of former Executive Director Lex Leifheit and curators Justin Charles Hoover and Melorra Green. \u003c/p>\n\u003cfigure id=\"attachment_12699672\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/What-Weve-Gained_What-Weve-Lost-e1485914468563.jpg\" alt=\"Lake Anderson, 'What We've Lost / What We've Gained,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12699672\">\u003cfigcaption class=\"wp-caption-text\">Lake Anderson, ‘What We’ve Lost / What We’ve Gained,’ 2016. \u003ccite>(Courtesy Chani Bockwinkel and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now entering is seventh year, residency-assisted curators at SOMArts representing wide experiential ranges and segments of Bay Area communities have produced 20 exhibitions addressing topics including \u003ca href=\"http://www.somarts.org/mourning/\" target=\"_blank\" rel=\"noopener\">reconstruction in El Salvador’s postwar era\u003c/a> and the \u003ca href=\"http://www.somarts.org/glamorgeddon/\" target=\"_blank\" rel=\"noopener\">relationship of glamour to camp, kitsch and abjection\u003c/a> — in other words, as recently appointed Executive Director Maria Jenson proudly asserted when we spoke, “projects that wouldn’t otherwise see the light of day.”\u003c/p>\n\u003cp>Comprising pieces created by artists who, in one fashion or another, identify as sex workers, \u003cem>We’re Still Working\u003c/em> presents an array of experiences in an industry condemned by the majority of Americans as immoral and threatening to public health and safety. To counter assumptions and harmful stereotypes about who sex workers are personally and professionally, co-curators \u003ca href=\"http://maxineholloway.com/\" target=\"_blank\" rel=\"noopener\">Maxine Holloway\u003c/a> and \u003ca>Javier Luis Hurtado\u003c/a> selected the work of artists who deploy a heady mix of humor, anger and sarcasm in their respective practices, all in defiance of society’s judgement.\u003c/p>\n\u003cfigure id=\"attachment_12699482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Not_Like_Other_Guys-e1485911386116.jpg\" alt=\"Jacq the Stripper, 'Not Like Other Guys.'\" width=\"1200\" height=\"1163\" class=\"size-full wp-image-12699482\">\u003cfigcaption class=\"wp-caption-text\">Jacq the Stripper, ‘Not Like Other Guys.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacqthestripper.com/\" target=\"_blank\" rel=\"noopener\">Jacq the Stripper\u003c/a>, a Brooklyn-based sex worker and illustrator, produces minimalist comic strips, including \u003cem>Not Like Other Guys\u003c/em>, that call out patron’s sexist and condescending remarks. Her hilariously blunt portrayal of these interactions underscores the frequency with which, in her line of work, invasive questions are asked and swatted away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Addressing similar client-patron interactions, but through the lens of a sex worker’s mandate to enact emotional and sexual connection on demand, \u003ca href=\"http://www.laurennmccubbin.com/2012/12/04/monument-to-the-risen/\" target=\"_blank\" rel=\"noopener\">Laurenn McCubbin\u003c/a>’s installation \u003cem>A Monument to the Risen\u003c/em> contrasts interviews and glossy club advertisements with hand-written notes that dictate a sex worker’s behind-the-scenes behavior. Through these pieces, McCubbin exposes the ins and outs of working as a stripper, and how asserting one’s humanity requires constant vigilance.\u003c/p>\n\u003cfigure id=\"attachment_12699483\" class=\"wp-caption aligncenter\" style=\"max-width: 1161px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity.jpg\" alt=\"Joseph Liatela, 'Untitled X' from the PROXIMITY series, 2016.\" width=\"1161\" height=\"1500\" class=\"size-full wp-image-12699483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity.jpg 1161w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-768x992.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-960x1240.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-375x484.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-520x672.jpg 520w\" sizes=\"(max-width: 1161px) 100vw, 1161px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Untitled X’ from the PROXIMITY series, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sex work often offers a refuge, or a best last opportunity for paid employment, to people — trans women and men, and women of color, for example — whose bodies are already criminalized. Sustaining one’s identity against a foil molded by puritanical moral and psycho-sexual codes regarding intimate relationships, and which bodies are “right” or “wrong,” is a daunting task at best. \u003c/p>\n\u003cp>For the series \u003cem>PROXIMITY\u003c/em>, \u003ca href=\"http://www.josephliatela.com/proximity/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> repurposes the costumes that, in patron’s eyes, marked him as a female sex worker prior to transitioning female to male. Out of these nearly abstract compositions emerge details like bra cups and lingerie straps, the performative trappings through which the artist exorcises his past in service of a better, yet still uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_12699673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Detail-22What-Weve-Gained_What-Weve-Lost-e1485911459181.jpg\" alt=\"Lake Anderson, Detail of 'What We've Gained / What We've Lost,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12699673\">\u003cfigcaption class=\"wp-caption-text\">Lake Anderson,\u003cbr>Detail of ‘What We’ve Gained / What We’ve Lost,’ 2016. \u003ccite>(Courtesy Chani Bockiwinkel and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lake Anderson’s \u003cem>What We’ve Gained / What We’ve Lost\u003c/em>, an installation in altar form, honors those lives claimed by violent acts against sex workers, and the solidarity these women and men find in community. Visitors are asked to name what is gained through speaking against demonizing sex work and those who practice it, and invited to memorialize those whose lives were cut short by violence that rarely sees wide media coverage.\u003c/p>\n\u003cp>When asked for whom \u003cem>We’re Still Working\u003c/em> was conceived and presented, curators Holloway and Hurtado enthusiastically reply that the exhibition is for anyone who is curious and open-minded and, alternately, those who know nothing about sex work yet seek to undermine or eliminate it through social and legislative means. Ultimately, the exhibition is presented to and for those in the wider sex worker community, those who carve out a livelihood at the edge of our moral comfort zone, as a celebration of who they are. With the support of one of San Francisco’s most dynamic arts institution backing them up, this is a moment for sex workers to be proud.\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=\"Q.Logo.Break\" 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>‘We’re Still Working: The Art of Sex Work’ is on view at SOMArts Cultural Center through February 25th. More information and details \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. (Note: . \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sex work in San Francisco is as old at the city itself.\u003c/p>\n\u003cp>From the Gold Rush-era brothels that made the \u003ca href=\"http://www.marinatimes.com/2012/04/a-short-history-of-bordellos-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Barbary Coast\u003c/a> infamous to the protests that forced LGBTQ rights and HIV/AIDS awareness to the front of our civic consciousness in the darkest days of the epidemic, a through-line is clear: Sex workers have fought for our right to bodily autonomy. The people who advance that rich legacy are celebrated in \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a>, a stellar exhibition at SOMArts Cultural Center, on view through Feb. 25.\u003c/p>\n\u003cp>\u003cem>We’re Still Working\u003c/em> is the first show of the year, and the second built out of the 2016-17 cohort that participated in the organization’s innovative \u003ca href=\"http://www.somarts.org/exhibitions/submissions/\" target=\"_blank\" rel=\"noopener\">Curatorial Residency\u003c/a>, which blossomed under the tenure of former Executive Director Lex Leifheit and curators Justin Charles Hoover and Melorra Green. \u003c/p>\n\u003cfigure id=\"attachment_12699672\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/What-Weve-Gained_What-Weve-Lost-e1485914468563.jpg\" alt=\"Lake Anderson, 'What We've Lost / What We've Gained,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12699672\">\u003cfigcaption class=\"wp-caption-text\">Lake Anderson, ‘What We’ve Lost / What We’ve Gained,’ 2016. \u003ccite>(Courtesy Chani Bockwinkel and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now entering is seventh year, residency-assisted curators at SOMArts representing wide experiential ranges and segments of Bay Area communities have produced 20 exhibitions addressing topics including \u003ca href=\"http://www.somarts.org/mourning/\" target=\"_blank\" rel=\"noopener\">reconstruction in El Salvador’s postwar era\u003c/a> and the \u003ca href=\"http://www.somarts.org/glamorgeddon/\" target=\"_blank\" rel=\"noopener\">relationship of glamour to camp, kitsch and abjection\u003c/a> — in other words, as recently appointed Executive Director Maria Jenson proudly asserted when we spoke, “projects that wouldn’t otherwise see the light of day.”\u003c/p>\n\u003cp>Comprising pieces created by artists who, in one fashion or another, identify as sex workers, \u003cem>We’re Still Working\u003c/em> presents an array of experiences in an industry condemned by the majority of Americans as immoral and threatening to public health and safety. To counter assumptions and harmful stereotypes about who sex workers are personally and professionally, co-curators \u003ca href=\"http://maxineholloway.com/\" target=\"_blank\" rel=\"noopener\">Maxine Holloway\u003c/a> and \u003ca>Javier Luis Hurtado\u003c/a> selected the work of artists who deploy a heady mix of humor, anger and sarcasm in their respective practices, all in defiance of society’s judgement.\u003c/p>\n\u003cfigure id=\"attachment_12699482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Not_Like_Other_Guys-e1485911386116.jpg\" alt=\"Jacq the Stripper, 'Not Like Other Guys.'\" width=\"1200\" height=\"1163\" class=\"size-full wp-image-12699482\">\u003cfigcaption class=\"wp-caption-text\">Jacq the Stripper, ‘Not Like Other Guys.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacqthestripper.com/\" target=\"_blank\" rel=\"noopener\">Jacq the Stripper\u003c/a>, a Brooklyn-based sex worker and illustrator, produces minimalist comic strips, including \u003cem>Not Like Other Guys\u003c/em>, that call out patron’s sexist and condescending remarks. Her hilariously blunt portrayal of these interactions underscores the frequency with which, in her line of work, invasive questions are asked and swatted away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Addressing similar client-patron interactions, but through the lens of a sex worker’s mandate to enact emotional and sexual connection on demand, \u003ca href=\"http://www.laurennmccubbin.com/2012/12/04/monument-to-the-risen/\" target=\"_blank\" rel=\"noopener\">Laurenn McCubbin\u003c/a>’s installation \u003cem>A Monument to the Risen\u003c/em> contrasts interviews and glossy club advertisements with hand-written notes that dictate a sex worker’s behind-the-scenes behavior. Through these pieces, McCubbin exposes the ins and outs of working as a stripper, and how asserting one’s humanity requires constant vigilance.\u003c/p>\n\u003cfigure id=\"attachment_12699483\" class=\"wp-caption aligncenter\" style=\"max-width: 1161px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity.jpg\" alt=\"Joseph Liatela, 'Untitled X' from the PROXIMITY series, 2016.\" width=\"1161\" height=\"1500\" class=\"size-full wp-image-12699483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity.jpg 1161w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-768x992.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-960x1240.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-375x484.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/UntitledX_Proximity-520x672.jpg 520w\" sizes=\"(max-width: 1161px) 100vw, 1161px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Untitled X’ from the PROXIMITY series, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sex work often offers a refuge, or a best last opportunity for paid employment, to people — trans women and men, and women of color, for example — whose bodies are already criminalized. Sustaining one’s identity against a foil molded by puritanical moral and psycho-sexual codes regarding intimate relationships, and which bodies are “right” or “wrong,” is a daunting task at best. \u003c/p>\n\u003cp>For the series \u003cem>PROXIMITY\u003c/em>, \u003ca href=\"http://www.josephliatela.com/proximity/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> repurposes the costumes that, in patron’s eyes, marked him as a female sex worker prior to transitioning female to male. Out of these nearly abstract compositions emerge details like bra cups and lingerie straps, the performative trappings through which the artist exorcises his past in service of a better, yet still uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_12699673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Detail-22What-Weve-Gained_What-Weve-Lost-e1485911459181.jpg\" alt=\"Lake Anderson, Detail of 'What We've Gained / What We've Lost,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12699673\">\u003cfigcaption class=\"wp-caption-text\">Lake Anderson,\u003cbr>Detail of ‘What We’ve Gained / What We’ve Lost,’ 2016. \u003ccite>(Courtesy Chani Bockiwinkel and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lake Anderson’s \u003cem>What We’ve Gained / What We’ve Lost\u003c/em>, an installation in altar form, honors those lives claimed by violent acts against sex workers, and the solidarity these women and men find in community. Visitors are asked to name what is gained through speaking against demonizing sex work and those who practice it, and invited to memorialize those whose lives were cut short by violence that rarely sees wide media coverage.\u003c/p>\n\u003cp>When asked for whom \u003cem>We’re Still Working\u003c/em> was conceived and presented, curators Holloway and Hurtado enthusiastically reply that the exhibition is for anyone who is curious and open-minded and, alternately, those who know nothing about sex work yet seek to undermine or eliminate it through social and legislative means. Ultimately, the exhibition is presented to and for those in the wider sex worker community, those who carve out a livelihood at the edge of our moral comfort zone, as a celebration of who they are. With the support of one of San Francisco’s most dynamic arts institution backing them up, this is a moment for sex workers to be proud.\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=\"Q.Logo.Break\" 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>‘We’re Still Working: The Art of Sex Work’ is on view at SOMArts Cultural Center through February 25th. More information and details \u003ca href=\"http://www.somarts.org/stillworking/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. (Note: . \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noche Flamenca's 'Antigona' Speaks Truth to Power",
"headTitle": "Noche Flamenca’s ‘Antigona’ Speaks Truth to Power | KQED",
"content": "\u003cp>“Families are complicated,” remarks the emcee early in \u003cem>Antigona, \u003c/em> Martín Santangelo’s staging of Sophocles’ epic \u003cem>Antigone\u003c/em> for the New York-based, globally renowned flamenco performance troupe Noche Flamenca — “complicated” being a wry understatement of the explosive domestic situation in the mythical royal family of Thebes circa 400 B.C.\u003c/p>\n\u003cp>I caught the show on a recent visit to New York at the company’s imposing home — the West Park Presbyterian Church on Manhattan’s Upper West Side. It now makes its \u003ca href=\"http://www.zspace.org/noche/\" target=\"_blank\" rel=\"noopener\">San Francisco debut\u003c/a> in a three-week run at Z Space starting on Saturday, Feb. 4, as part of an international tour. With economy and wit, the production introduces the players in this tale of tyranny, incest, and noble sacrifice, while speaking poetically to modern-day crises.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Q0bAdqJAfMY\">https://www.youtube.com/watch?v=Q0bAdqJAfMY\u003c/a>\u003c/p>\n\u003cp>As an allegory of the power and the hazards of civil disobedience, \u003cem>Antigone\u003c/em> has inspired many interpretations through the ages. Notable among them are Jean Anouilh’s 1944 retelling, which came out of Nazi-occupied France; the Living Theatre’s revolution-minded distillation of the 1960s; and Seamus Heaney’s 2003 \u003cem>\u003ca href=\"http://www.nytheatre-wire.com/el07011t.htm\" target=\"_blank\" rel=\"noopener\">Burial at Thebes\u003c/a>\u003c/em>, which drew a parallel between the posturing of the power-mad King Creon and George W. Bush’s warmongering.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Santangelo’s adaptation was sparked by the controversy in Spain over the disbarment of the high-profile judge \u003ca href=\"https://www.theguardian.com/world/2012/feb/09/spain-judge-baltasar-garzon-suspended\" target=\"_blank\" rel=\"noopener\">Baltazar Garzón\u003c/a> following his investigations in 2008 into Franco-era atrocities, notably championing families whose relatives had died in purges and whose corpses had been dumped in mass graves.\u003c/p>\n\u003cp>To honor both ancient and modern tales of this tragic magnitude, it seemed natural for Santangelo to turn to flamenco — a music and dance form rooted in the tribulations of oppressed peoples. The director began to immerse himself in Sophocles and Greek theater traditions. “The Greeks were doing musical theater,” Santangelo says. “The Greek scholars know that, even if many theater directors don’t: Greek classical theater was meant to be sung and accompanied by music and dance.”\u003c/p>\n\u003cfigure id=\"attachment_12686418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12686418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-800x555.jpg\" alt=\"Soledad Barrio in ‘Antigona.’\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-1180x818.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soledad Barrio in ‘Antigona’ \u003ccite>(Photo: Noche Flamenca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legendary flamenco artist Soledad Barrio headlines this combustible mix of dance, Greek tragedy and absurdist satire. Barrio plays Antigona, faithful daughter to King Oedipus (who, unaware of his true identity, killed his father and married his mother, precipitating a series of calamitous events) and sister to two warring brothers.\u003c/p>\n\u003cp>The hot-headed princelings kill each other off in a spectacular showdown of flamenco versus hip-hop, spurred on by a wailing rock guitar and the ominous pounding of a cajón (a box-shaped percussion instrument). Antigona defies her uncle, Creon, who has arbitrarily branded one of her brothers a traitor and refused to permit his burial. She pays for her insurrection with her life.\u003c/p>\n\u003cp>Santangelo’s libretto, delivered mostly in Spanish with lashings of other languages, and the striking score that ranges far beyond the soundscape of traditional flamenco, unleash a fierceness and vulnerability in the dancing. (English-speaking audiences need not be worried about keeping up; the entire piece is carefully surtitled.)\u003c/p>\n\u003cfigure id=\"attachment_12682442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12682442\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-800x564.jpg\" alt=\"Soledad Barrio as Antigone and Juan Ogalla as Haemon in Antigone (Photo: Zarmik Moqtaderi)\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1920x1353.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1180x832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soledad Barrio as Antigone and Juan Ogalla as Haemon in Antigone. (Photo: Zarmik Moqtaderi)\u003c/figcaption>\u003c/figure>\n\u003cp>The work came together well before the recent U.S. presidential election cycle. But the peculiar relevance of the tale in the era of President Trump is unavoidable. It’s especially evident during a scene in which Creon, having stepped into the leadership void created by the banishment of Oedipus and the violent deaths of his nephews, struts buffoonishly through a coronation ceremony that indulges his fetish for bullfighting. One of the chorus members, roped in to play the “bull,” simply rolls her eyes at each stab of the matador’s banderillas (darts).\u003c/p>\n\u003cp>Barrio herself is a phenomenon onstage. A winner of the New York Dance and Performance Award (“Bessie”) — the first “\u003ca href=\"http://bessies.org/archive/\" target=\"_blank\" rel=\"noopener\">Bessie\u003c/a>” to be awarded to a flamenco dancer — she has been called the “Baryshnikov of flamenco,” not simply for the fiery, virtuosic quality of her dancing, but also for the eloquence with which she conveys passion, sorrow and outrage.\u003c/p>\n\u003cp>In the aftermath of the recent post-inauguration Women’s March, which stretched from Washington, D.C. to cities around the globe, Barrio’s Antigona is a unique embodiment of a tenacious, principled woman. Barrio speaks truth to power in her flamenco heels, with her sinuous wrists and fingers, steely shoulders and smoldering eyes.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Antigona\u003c/em> runs from Saturday, Feb. 4–Saturday, Feb. 25 at Z Space in San Francisco. Information and tickets \u003ca href=\"http://www.zspace.org/noche/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Martín Santangelo’s staging of Sophocles’ epic 'Antigone' for the New York-based, globally renowned flamenco performance troupe Noche Flamenca speaks poetically to modern-day crises. ",
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"headline": "Noche Flamenca's 'Antigona' Speaks Truth to Power",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Families are complicated,” remarks the emcee early in \u003cem>Antigona, \u003c/em> Martín Santangelo’s staging of Sophocles’ epic \u003cem>Antigone\u003c/em> for the New York-based, globally renowned flamenco performance troupe Noche Flamenca — “complicated” being a wry understatement of the explosive domestic situation in the mythical royal family of Thebes circa 400 B.C.\u003c/p>\n\u003cp>I caught the show on a recent visit to New York at the company’s imposing home — the West Park Presbyterian Church on Manhattan’s Upper West Side. It now makes its \u003ca href=\"http://www.zspace.org/noche/\" target=\"_blank\" rel=\"noopener\">San Francisco debut\u003c/a> in a three-week run at Z Space starting on Saturday, Feb. 4, as part of an international tour. With economy and wit, the production introduces the players in this tale of tyranny, incest, and noble sacrifice, while speaking poetically to modern-day crises.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Q0bAdqJAfMY\">https://www.youtube.com/watch?v=Q0bAdqJAfMY\u003c/a>\u003c/p>\n\u003cp>As an allegory of the power and the hazards of civil disobedience, \u003cem>Antigone\u003c/em> has inspired many interpretations through the ages. Notable among them are Jean Anouilh’s 1944 retelling, which came out of Nazi-occupied France; the Living Theatre’s revolution-minded distillation of the 1960s; and Seamus Heaney’s 2003 \u003cem>\u003ca href=\"http://www.nytheatre-wire.com/el07011t.htm\" target=\"_blank\" rel=\"noopener\">Burial at Thebes\u003c/a>\u003c/em>, which drew a parallel between the posturing of the power-mad King Creon and George W. Bush’s warmongering.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Santangelo’s adaptation was sparked by the controversy in Spain over the disbarment of the high-profile judge \u003ca href=\"https://www.theguardian.com/world/2012/feb/09/spain-judge-baltasar-garzon-suspended\" target=\"_blank\" rel=\"noopener\">Baltazar Garzón\u003c/a> following his investigations in 2008 into Franco-era atrocities, notably championing families whose relatives had died in purges and whose corpses had been dumped in mass graves.\u003c/p>\n\u003cp>To honor both ancient and modern tales of this tragic magnitude, it seemed natural for Santangelo to turn to flamenco — a music and dance form rooted in the tribulations of oppressed peoples. The director began to immerse himself in Sophocles and Greek theater traditions. “The Greeks were doing musical theater,” Santangelo says. “The Greek scholars know that, even if many theater directors don’t: Greek classical theater was meant to be sung and accompanied by music and dance.”\u003c/p>\n\u003cfigure id=\"attachment_12686418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12686418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-800x555.jpg\" alt=\"Soledad Barrio in ‘Antigona.’\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-1180x818.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Soledad-Barrio-e1485553573510.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soledad Barrio in ‘Antigona’ \u003ccite>(Photo: Noche Flamenca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legendary flamenco artist Soledad Barrio headlines this combustible mix of dance, Greek tragedy and absurdist satire. Barrio plays Antigona, faithful daughter to King Oedipus (who, unaware of his true identity, killed his father and married his mother, precipitating a series of calamitous events) and sister to two warring brothers.\u003c/p>\n\u003cp>The hot-headed princelings kill each other off in a spectacular showdown of flamenco versus hip-hop, spurred on by a wailing rock guitar and the ominous pounding of a cajón (a box-shaped percussion instrument). Antigona defies her uncle, Creon, who has arbitrarily branded one of her brothers a traitor and refused to permit his burial. She pays for her insurrection with her life.\u003c/p>\n\u003cp>Santangelo’s libretto, delivered mostly in Spanish with lashings of other languages, and the striking score that ranges far beyond the soundscape of traditional flamenco, unleash a fierceness and vulnerability in the dancing. (English-speaking audiences need not be worried about keeping up; the entire piece is carefully surtitled.)\u003c/p>\n\u003cfigure id=\"attachment_12682442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12682442\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-800x564.jpg\" alt=\"Soledad Barrio as Antigone and Juan Ogalla as Haemon in Antigone (Photo: Zarmik Moqtaderi)\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1920x1353.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-1180x832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Zarmik-Moqtaderi-NocheFlamenca-D_BW_SoledadAndJuan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soledad Barrio as Antigone and Juan Ogalla as Haemon in Antigone. (Photo: Zarmik Moqtaderi)\u003c/figcaption>\u003c/figure>\n\u003cp>The work came together well before the recent U.S. presidential election cycle. But the peculiar relevance of the tale in the era of President Trump is unavoidable. It’s especially evident during a scene in which Creon, having stepped into the leadership void created by the banishment of Oedipus and the violent deaths of his nephews, struts buffoonishly through a coronation ceremony that indulges his fetish for bullfighting. One of the chorus members, roped in to play the “bull,” simply rolls her eyes at each stab of the matador’s banderillas (darts).\u003c/p>\n\u003cp>Barrio herself is a phenomenon onstage. A winner of the New York Dance and Performance Award (“Bessie”) — the first “\u003ca href=\"http://bessies.org/archive/\" target=\"_blank\" rel=\"noopener\">Bessie\u003c/a>” to be awarded to a flamenco dancer — she has been called the “Baryshnikov of flamenco,” not simply for the fiery, virtuosic quality of her dancing, but also for the eloquence with which she conveys passion, sorrow and outrage.\u003c/p>\n\u003cp>In the aftermath of the recent post-inauguration Women’s March, which stretched from Washington, D.C. to cities around the globe, Barrio’s Antigona is a unique embodiment of a tenacious, principled woman. Barrio speaks truth to power in her flamenco heels, with her sinuous wrists and fingers, steely shoulders and smoldering eyes.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Antigona\u003c/em> runs from Saturday, Feb. 4–Saturday, Feb. 25 at Z Space in San Francisco. Information and tickets \u003ca href=\"http://www.zspace.org/noche/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\u003c/p>\n\u003cp>https://youtu.be/4lwrzNqEUOM\u003c/p>\n\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\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/4lwrzNqEUOM'\n title='//www.youtube.com/embed/4lwrzNqEUOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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