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"title": "'Strange Reprise' Reflects on Noxious Nostalgia with Westerns and Stickers",
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"content": "\u003cp>On a quiet Mission District corner, in the space that once housed Eleanor Harwood Gallery (before she decamped, along with so many others, to 1275 Minnesota Street), \u003ca href=\"http://www.statespacesf.com/\" target=\"_blank\" rel=\"noopener\">state\u003c/a> gallery is four exhibitions into its first year of operation. And should you find your art-viewing days increasingly spent in the southeast corner of San Francisco, \u003ci>\u003ca href=\"http://www.statespacesf.com/strange-reprise-chris-thorson-maria-forde/\" target=\"_blank\" rel=\"noopener\">Strange Reprise\u003c/a>\u003c/i>, a two-person show of drawings by \u003ca href=\"http://www.mariaforde.net/\" target=\"_blank\" rel=\"noopener\">Maria Forde\u003c/a> and sculptures by \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>, makes a persuasive argument for adding 25th and Alabama back into your gallery-hopping circuit.\u003c/p>\n\u003cp>\u003ci>Strange Reprise\u003c/i> is a show that stays with you. It’s full of all the fun “re-” words: it repeats, recreates and represents. Discretely grouped in separate sections of the gallery, both Forde and Thorson’s work revisits popular culture of the past, meticulously rendering the (often-unpleasant) residue of American iconography.\u003c/p>\n\u003cp>Thorson’s source material is a group of found sticker albums from the 1980s. Cast from urethane, painted with acrylic and reconnected with multi-hued binding coils, Thorson’s trompe l’oeil albums lay open on waist-high shelves around the gallery’s front room, each displaying only the intricately detailed spread of her choice.\u003c/p>\n\u003cfigure id=\"attachment_12677388\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200.jpg\" alt=\"Chris Thorson, 'Tabula Rasa (American Hero,' 2016.\" width=\"1200\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-520x332.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Tabula Rasa (American Hero,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a practice long invested in replicating everyday objects, Thorson is very good at what she does. Her sticker books are easily mistaken for the “real thing” upon first glance. The puffy stickers have puff. The shiny stickers have shine. But up close, the yellowed stripe of tape holding an E.T. sticker to the page reveals itself as a hand-painted effect. It’s a thrilling moment that repeats itself again and again, and doesn’t diminish, even with nine albums on display.\u003c/p>\n\u003cp>Because while Thorson decides which pages to cast and reproduce, another, equally mesmerizing hand is at work: that of the original anonymous sticker collector. The wacky distribution of Pac-Man, Ziggy and a poison hotline stickers in \u003ci>Tabula Rasa (Nobody Understands)\u003c/i> is familiar to anyone who was once a child. As is the impulse to empty an entire themed sticker sheet onto one page in an album. You know, for posterity. (See \u003ci>Tabula Rasa (America Hero)\u003c/i> for all G.I. Joe, all the time.)\u003c/p>\n\u003cfigure id=\"attachment_12677386\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cablehogue-900.jpg\" alt=\"Maria Forde, 'Cable Hogue,' 2016.\" width=\"900\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-520x378.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Maria Forde, ‘Cable Hogue,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In state’s smaller back room, Maria Forde’s \u003ci>Western Drawings\u003c/i> offer up a similarly obsessive catalog of scenes from Westerns, both behind and in front of the camera, as well as children reenacting Western-like scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The men in Forde’s drawings are mostly white and mostly hold guns. In the few exceptions to this rule, one white man holds a knife, another a woman’s chin. Bits of handwritten text punctuate Forde’s drawings, mixing what seem like sentences from critical theory texts with lines of stoic dialogue.\u003c/p>\n\u003cp>“Masculinity is in constant danger of slipping away, of losing its coherence; thus it must be repeatedly reearned,” reads \u003ci>Rio Bravo\u003c/i>, a drawing of not one but three men holding guns. The self-referential text adds a layer of critical distance even as the common elements within Forde’s drawings — cowboys, cowboys, cowboys — threaten to tip the whole collection towards fandom.\u003c/p>\n\u003cfigure id=\"attachment_12677387\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/clintdirecting-750.jpg\" alt=\"Maria Forde, 'Clint Directing,' 2016.\" width=\"750\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-520x379.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Maria Forde, ‘Clint Directing,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real power of Forde’s awkward, almost childlike \u003ci>Western Drawings\u003c/i> comes from realizing the tropes depicted — the macho man, the damsel in distress, the unnamed Native American as set dressing rather than developed character — are not just elements of the past. These images and the ideas they represent relentlessly persist. Like Thorson’s colorful stickers, many of which are merchandising for toys, television shows, movies or celebrity musicians, Forde’s images of the West are so deeply nostalgic it is difficult to exorcise them, even if we are capable or recognizing the toxic gender roles, senseless violence and unabashed commercialism within.\u003c/p>\n\u003cp>A final group of works from Thorson drives the point home. A group of cast hand mirrors, part of a series titled \u003ci>Inner Monologue\u003c/i>, hang from their handles against a wall, their backs facing the gallery. Without self examination, they seem to say, the momentary strangeness of Forde and Thorson’s “strange reprises” will be just that — a moment. The repetition within their work expands that moment, creating an opportunity for us to recognize and take stock of the images perpetuating cycles we seek to escape.\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>\u003ci>\u003cb>Strange Reprise\u003c/b> is on view at state in San Francisco through Jan. 28. Visit \u003ca href=\"http://www.statespacesf.com/\" target=\"_blank\" rel=\"noopener\">statespacesf.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Artists Maria Forde and Chris Thorson revisit popular culture of the past, meticulously rendering the residue of American iconography.",
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"description": "Artists Maria Forde and Chris Thorson revisit popular culture of the past, meticulously rendering the residue of American iconography.",
"title": "'Strange Reprise' Reflects on Noxious Nostalgia with Westerns and Stickers | KQED",
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"headline": "'Strange Reprise' Reflects on Noxious Nostalgia with Westerns and Stickers",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a quiet Mission District corner, in the space that once housed Eleanor Harwood Gallery (before she decamped, along with so many others, to 1275 Minnesota Street), \u003ca href=\"http://www.statespacesf.com/\" target=\"_blank\" rel=\"noopener\">state\u003c/a> gallery is four exhibitions into its first year of operation. And should you find your art-viewing days increasingly spent in the southeast corner of San Francisco, \u003ci>\u003ca href=\"http://www.statespacesf.com/strange-reprise-chris-thorson-maria-forde/\" target=\"_blank\" rel=\"noopener\">Strange Reprise\u003c/a>\u003c/i>, a two-person show of drawings by \u003ca href=\"http://www.mariaforde.net/\" target=\"_blank\" rel=\"noopener\">Maria Forde\u003c/a> and sculptures by \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>, makes a persuasive argument for adding 25th and Alabama back into your gallery-hopping circuit.\u003c/p>\n\u003cp>\u003ci>Strange Reprise\u003c/i> is a show that stays with you. It’s full of all the fun “re-” words: it repeats, recreates and represents. Discretely grouped in separate sections of the gallery, both Forde and Thorson’s work revisits popular culture of the past, meticulously rendering the (often-unpleasant) residue of American iconography.\u003c/p>\n\u003cp>Thorson’s source material is a group of found sticker albums from the 1980s. Cast from urethane, painted with acrylic and reconnected with multi-hued binding coils, Thorson’s trompe l’oeil albums lay open on waist-high shelves around the gallery’s front room, each displaying only the intricately detailed spread of her choice.\u003c/p>\n\u003cfigure id=\"attachment_12677388\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200.jpg\" alt=\"Chris Thorson, 'Tabula Rasa (American Hero,' 2016.\" width=\"1200\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tabula_RasaAmerican_Hero-1200-520x332.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Tabula Rasa (American Hero,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a practice long invested in replicating everyday objects, Thorson is very good at what she does. Her sticker books are easily mistaken for the “real thing” upon first glance. The puffy stickers have puff. The shiny stickers have shine. But up close, the yellowed stripe of tape holding an E.T. sticker to the page reveals itself as a hand-painted effect. It’s a thrilling moment that repeats itself again and again, and doesn’t diminish, even with nine albums on display.\u003c/p>\n\u003cp>Because while Thorson decides which pages to cast and reproduce, another, equally mesmerizing hand is at work: that of the original anonymous sticker collector. The wacky distribution of Pac-Man, Ziggy and a poison hotline stickers in \u003ci>Tabula Rasa (Nobody Understands)\u003c/i> is familiar to anyone who was once a child. As is the impulse to empty an entire themed sticker sheet onto one page in an album. You know, for posterity. (See \u003ci>Tabula Rasa (America Hero)\u003c/i> for all G.I. Joe, all the time.)\u003c/p>\n\u003cfigure id=\"attachment_12677386\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cablehogue-900.jpg\" alt=\"Maria Forde, 'Cable Hogue,' 2016.\" width=\"900\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cablehogue-900-520x378.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Maria Forde, ‘Cable Hogue,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In state’s smaller back room, Maria Forde’s \u003ci>Western Drawings\u003c/i> offer up a similarly obsessive catalog of scenes from Westerns, both behind and in front of the camera, as well as children reenacting Western-like scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The men in Forde’s drawings are mostly white and mostly hold guns. In the few exceptions to this rule, one white man holds a knife, another a woman’s chin. Bits of handwritten text punctuate Forde’s drawings, mixing what seem like sentences from critical theory texts with lines of stoic dialogue.\u003c/p>\n\u003cp>“Masculinity is in constant danger of slipping away, of losing its coherence; thus it must be repeatedly reearned,” reads \u003ci>Rio Bravo\u003c/i>, a drawing of not one but three men holding guns. The self-referential text adds a layer of critical distance even as the common elements within Forde’s drawings — cowboys, cowboys, cowboys — threaten to tip the whole collection towards fandom.\u003c/p>\n\u003cfigure id=\"attachment_12677387\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12677387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/clintdirecting-750.jpg\" alt=\"Maria Forde, 'Clint Directing,' 2016.\" width=\"750\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/clintdirecting-750-520x379.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Maria Forde, ‘Clint Directing,’ 2016. \u003ccite>(Courtesy of state)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real power of Forde’s awkward, almost childlike \u003ci>Western Drawings\u003c/i> comes from realizing the tropes depicted — the macho man, the damsel in distress, the unnamed Native American as set dressing rather than developed character — are not just elements of the past. These images and the ideas they represent relentlessly persist. Like Thorson’s colorful stickers, many of which are merchandising for toys, television shows, movies or celebrity musicians, Forde’s images of the West are so deeply nostalgic it is difficult to exorcise them, even if we are capable or recognizing the toxic gender roles, senseless violence and unabashed commercialism within.\u003c/p>\n\u003cp>A final group of works from Thorson drives the point home. A group of cast hand mirrors, part of a series titled \u003ci>Inner Monologue\u003c/i>, hang from their handles against a wall, their backs facing the gallery. Without self examination, they seem to say, the momentary strangeness of Forde and Thorson’s “strange reprises” will be just that — a moment. The repetition within their work expands that moment, creating an opportunity for us to recognize and take stock of the images perpetuating cycles we seek to escape.\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>\u003ci>\u003cb>Strange Reprise\u003c/b> is on view at state in San Francisco through Jan. 28. Visit \u003ca href=\"http://www.statespacesf.com/\" target=\"_blank\" rel=\"noopener\">statespacesf.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'A Living Thing' Creates Space for Civil Discourse Against Patriotic Backdrop",
"headTitle": "‘A Living Thing’ Creates Space for Civil Discourse Against Patriotic Backdrop | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.law.cornell.edu/uscode/text/4/chapter-1\" target=\"_blank\" rel=\"noopener\">United States Flag Code\u003c/a>, written in 1923 and made public law in 1942, outlines the rules by which U.S. flags may be displayed, saluted and disposed of (perhaps surprisingly: “in a dignified way, preferably by burning”).\u003c/p>\n\u003cp>But not all flag-flying locations adhere as strictly to the code as its original authors might have intended. Flags fly at all hours, not just sunrise to sunset, and often without illumination. For reasons too many to enumerate, they endure rain, sleet, snow and sun; they fly tattered and faded.\u003c/p>\n\u003cfigure id=\"attachment_12668860\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200.jpg\" alt=\"Debate watch party at the Tang under Mel Ziegler's 'Flag Exchange.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-12668860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Debate watch party at the Tang under Mel Ziegler’s ‘Flag Exchange.’ \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition \u003ci>\u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/a-living-thing\" target=\"_blank\" rel=\"noopener\">A Living Thing\u003c/a>\u003c/i>, now on view at the San Francisco Art Institute’s Walter and McBean Galleries, is a catalog of these hard-working flags. Between 2011 and 2016, Nashville-based artist Mel Ziegler journeyed throughout the U.S. negotiating the exchange of used flags for new flags.\u003c/p>\n\u003cp>As in their previous presentation at New York’s \u003ca href=\"https://tang.skidmore.edu/exhibitions/218-a-more-perfect-union\" target=\"_blank\" rel=\"noopener\">Tang Museum\u003c/a>, the 50 flags of \u003ci>A Living Thing\u003c/i> hang vertically in various sizes and states of disintegration around a square stage, a space organizers Hesse McGraw and Katie Hood Morgan plan to fill with an open call for actions, performances, conversation or debate.\u003c/p>\n\u003cfigure id=\"attachment_12668861\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/6_Tang_1200.jpg\" alt=\"Detail view of a continuation of 'Dear America,' a collaborative project created by students in Mel Ziegler’s Installation/Social Intervention class at Vanderbilt University, 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12668861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail view of a continuation of ‘Dear America,’ a collaborative project created by students in Mel Ziegler’s Installation/Social Intervention class at Vanderbilt University, 2016. \u003ccite>(Photo by Jim McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For McGraw, Ziegler’s work is rooted in an empathy for the non-urban environment. The story of each flag exchange remains between Ziegler and the anonymous flag owners, many of whom were embarrassed by the state of their stars and stripes. “This unseen thing is the real substance of work,” McGraw says of the exchanges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The organizers hope to create a forum for multiple perspectives on the gallery stage, acknowledging this will be difficult in a left-leaning city like San Francisco. At the Tang, where the flags were on display during the tumultuous months of July through December 2016, public events included debate-watching parties, a lecture on burkinis, folk music performances and a post-election skill exchange. \u003c/p>\n\u003cfigure id=\"attachment_12668862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200.jpg\" alt=\"SFAA board minutes, 1878.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12668862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAA board minutes, 1878. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs from \u003ci>A Living Thing\u003c/i> — ostensibly a 50-flag archive of patriotic use — SFAI’s own Exhibitions and Public Programs archives spread out for public consumption with the help of a two-year grant from the Institute of Museums and Library Science. \u003ci>Ghosts of the Tower\u003c/i>, opening Jan. 26, is the first step in a process of cataloging and digitizing the nearly 150-year-old institution’s bounty of recorded lectures, correspondences, catalogs, images and posters. Favorites include the handwritten board minutes approving the 1878 public presentation of Eadweard Muybridge’s \u003ci>Zoopraxiscope\u003c/i>. \u003c/p>\n\u003cp>Section 8 of the Flag Code, the source of Ziegler’s exhibition title, states: “The flag represents a living country and is itself considered a living thing.” The imperfect, distressed and sun-faded symbols of patriotism on view in the Walter and McBean Galleries reinforce the idea that the United States is far from static. Instead, it seems to argue, our democracy is very much alive, a work-in-progress whose history should be pried open (like SFAI’s archives), discussed and examined — with respect and optimism — if ever we are to move forward as one.\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>\u003cstrong>A Living Thing\u003c/strong> is on view through April 1, 2017 at SFAI’s Walter and McBean Galleries in San Francisco. \u003cstrong>Ghosts of the Tower\u003c/strong> is on view Jan. 26–April 8, 2017. An opening reception for both exhibitions takes place Friday, Jan. 27, 7–9pm. For more information visit \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/walter-and-mcbean-galleries\" target=\"_blank\" rel=\"noopener\">sfai.edu\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Mel Ziegler's 'Flag Exchange' shows used U.S. flags from all 50 states, hung around a stage open to all for actions, performance and debate.",
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"description": "Mel Ziegler's 'Flag Exchange' shows used U.S. flags from all 50 states, hung around a stage open to all for actions, performance and debate.",
"title": "'A Living Thing' Creates Space for Civil Discourse Against Patriotic Backdrop | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.law.cornell.edu/uscode/text/4/chapter-1\" target=\"_blank\" rel=\"noopener\">United States Flag Code\u003c/a>, written in 1923 and made public law in 1942, outlines the rules by which U.S. flags may be displayed, saluted and disposed of (perhaps surprisingly: “in a dignified way, preferably by burning”).\u003c/p>\n\u003cp>But not all flag-flying locations adhere as strictly to the code as its original authors might have intended. Flags fly at all hours, not just sunrise to sunset, and often without illumination. For reasons too many to enumerate, they endure rain, sleet, snow and sun; they fly tattered and faded.\u003c/p>\n\u003cfigure id=\"attachment_12668860\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200.jpg\" alt=\"Debate watch party at the Tang under Mel Ziegler's 'Flag Exchange.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-12668860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2_Debate-watch-10-9_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Debate watch party at the Tang under Mel Ziegler’s ‘Flag Exchange.’ \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition \u003ci>\u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/a-living-thing\" target=\"_blank\" rel=\"noopener\">A Living Thing\u003c/a>\u003c/i>, now on view at the San Francisco Art Institute’s Walter and McBean Galleries, is a catalog of these hard-working flags. Between 2011 and 2016, Nashville-based artist Mel Ziegler journeyed throughout the U.S. negotiating the exchange of used flags for new flags.\u003c/p>\n\u003cp>As in their previous presentation at New York’s \u003ca href=\"https://tang.skidmore.edu/exhibitions/218-a-more-perfect-union\" target=\"_blank\" rel=\"noopener\">Tang Museum\u003c/a>, the 50 flags of \u003ci>A Living Thing\u003c/i> hang vertically in various sizes and states of disintegration around a square stage, a space organizers Hesse McGraw and Katie Hood Morgan plan to fill with an open call for actions, performances, conversation or debate.\u003c/p>\n\u003cfigure id=\"attachment_12668861\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/6_Tang_1200.jpg\" alt=\"Detail view of a continuation of 'Dear America,' a collaborative project created by students in Mel Ziegler’s Installation/Social Intervention class at Vanderbilt University, 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12668861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/6_Tang_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail view of a continuation of ‘Dear America,’ a collaborative project created by students in Mel Ziegler’s Installation/Social Intervention class at Vanderbilt University, 2016. \u003ccite>(Photo by Jim McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For McGraw, Ziegler’s work is rooted in an empathy for the non-urban environment. The story of each flag exchange remains between Ziegler and the anonymous flag owners, many of whom were embarrassed by the state of their stars and stripes. “This unseen thing is the real substance of work,” McGraw says of the exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The organizers hope to create a forum for multiple perspectives on the gallery stage, acknowledging this will be difficult in a left-leaning city like San Francisco. At the Tang, where the flags were on display during the tumultuous months of July through December 2016, public events included debate-watching parties, a lecture on burkinis, folk music performances and a post-election skill exchange. \u003c/p>\n\u003cfigure id=\"attachment_12668862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200.jpg\" alt=\"SFAA board minutes, 1878.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12668862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3_SFAA_Board_minutes_1878_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAA board minutes, 1878. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs from \u003ci>A Living Thing\u003c/i> — ostensibly a 50-flag archive of patriotic use — SFAI’s own Exhibitions and Public Programs archives spread out for public consumption with the help of a two-year grant from the Institute of Museums and Library Science. \u003ci>Ghosts of the Tower\u003c/i>, opening Jan. 26, is the first step in a process of cataloging and digitizing the nearly 150-year-old institution’s bounty of recorded lectures, correspondences, catalogs, images and posters. Favorites include the handwritten board minutes approving the 1878 public presentation of Eadweard Muybridge’s \u003ci>Zoopraxiscope\u003c/i>. \u003c/p>\n\u003cp>Section 8 of the Flag Code, the source of Ziegler’s exhibition title, states: “The flag represents a living country and is itself considered a living thing.” The imperfect, distressed and sun-faded symbols of patriotism on view in the Walter and McBean Galleries reinforce the idea that the United States is far from static. Instead, it seems to argue, our democracy is very much alive, a work-in-progress whose history should be pried open (like SFAI’s archives), discussed and examined — with respect and optimism — if ever we are to move forward as one.\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>\u003cstrong>A Living Thing\u003c/strong> is on view through April 1, 2017 at SFAI’s Walter and McBean Galleries in San Francisco. \u003cstrong>Ghosts of the Tower\u003c/strong> is on view Jan. 26–April 8, 2017. An opening reception for both exhibitions takes place Friday, Jan. 27, 7–9pm. For more information visit \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/walter-and-mcbean-galleries\" target=\"_blank\" rel=\"noopener\">sfai.edu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-mlk-day-youth-speaks-poets-speak-out-against-injustice",
"title": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice",
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"content": "\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\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>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n",
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"title": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\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>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-politics-of-lukaza-branfman-verissimos-brown-black-blue-body",
"title": "The Politics of Lukaza Branfman-Verissimo’s Brown, Black, Blue Body",
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"headTitle": "The Politics of Lukaza Branfman-Verissimo’s Brown, Black, Blue Body | KQED",
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"content": "\u003cp>When Donald Trump was elected president, Oakland artist Lukaza Branfman-Verissimo wasted no time. Almost immediately, she grabbed a marker and a plain shirt and essentially created a wearable protest sign. It read, “PROTECT MUSLIM / LATINX / QUEER / BLACK / NATIVE / POCS / FRIENDS.” She took a selfie and posted it to Instagram. Not long after, the artist had created a digital poster that expanded her initial list to include “immigrant,” “trans,” “LGBTQ+,” “low income,” and “artist.” Soon enough, she was silk-screening posters and shirts for anyone interested.\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>The Oakland artist’s \u003ca href=\"http://www.lukazabranfman-verissimo.com/\">work\u003c/a> is typically based in social practice such as gathering people for conversations and collecting oral histories. At the end of 2015, for instance, she \u003ca href=\"http://www.eastbayexpress.com/oakland/spinning-stories-in-sculpture/Content?oid=4604851\">did a residency\u003c/a> at E.M. Wolfman bookstore that involved hosting open listening sessions to hear people’s stories, then creating a collection of small found-object sculptures inspired by them.\u003c/p>\n\u003cp>But amid the recent political climate, Branfman-Verissimo has been increasingly interested in making signs. Being the Los Angeles-raised daughter of an Afro-Brazilian father involved in the Brazilian black power movement and a Jewish-American mother with familial ties to the communist party, protest signs are a familiar form, she tells me. But Branfman-Verissimo’s new body of work both champions and complicates the medium.\u003c/p>\n\u003cfigure id=\"attachment_12649463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-800x450.jpg\" alt=\"Artist Lukaza Branfman-Verissimo inside her solo show at Lago Projects.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12649463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lukaza Branfman-Verissimo inside her solo show at Lago Projects. \u003ccite>(Photo: Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her solo show, \u003cem>I like the way you look at my brown black blue body, I don’t like how my brown black blue body has been historically looked at, \u003c/em>currently at the brand-new \u003ca href=\"http://lagoprojects.com/\">Lago Projects\u003c/a> in Oakland, Branfman-Verissimo digs into the question of what it means to be a brown person in America today. As she puts it, the show is “thinking about brown bodies in my community of Oakland and nationally through examining my own self and looking at the dualities of being a mixed brown-black-white body.” And she does so, in part, through signage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Three black and white signs command the gallery. Their textured, inconsistent lettering feels as personal as a signature, but the form itself calls to mind iconic civil rights signs of the ’60s declaring “\u003ca href=\"http://pictures.ozy.com/pictures/1500xany/7/3/5/75735_BE001140.jpg\" target=\"_blank\" rel=\"noopener\">I AM A MAN\u003c/a>.” Branfman-Verissimo’s though, declares, “PART WHITE SUGAR PART BLACK GIRL MAGIC.” That’s her ode to self, a statement about the way that her body is looked at by others every day.\u003c/p>\n\u003cp>“WRAPPED HELD PIERCED MARKED” screams another sign, dedicated to the way black and brown women have historically been treated in Oakland. The third, which reads “PASSION FRUIT,” alludes to the artist’s Afro-Brazilian heritage. She made it “just thinking about all the times my name has been called ‘exotic’ throughout my life,” she said.\u003c/p>\n\u003cp>Arranged in a triangle, the trio of paintings work like signposts to position the artist’s place in the world. But in their simplicity, the pieces also belie the limits of language when it comes to such ineffable notions as a person’s identity. Like bodies placed into colored categories, labels can only relay so much about someone’s sense of self, the work seems to say.\u003c/p>\n\u003cfigure id=\"attachment_12622999\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12622999\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9057-800x1028.jpg\" alt=\"Lukaza Branfman-Verissimo's altar to black and brown women. \" width=\"332\" height=\"393\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo’s altar to black and brown women. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walking past the signs reveals that each is propped up by a blue altar made of small sculptures and collected objects. The altar to the self includes a \u003cem>lukasa\u003c/em>, a pneumonic sculpture used in Congolese culture to tell stories (also, the artist’s namesake); while the altar to women of color includes a framed list of black and brown women killed by the Oakland police last year. Each speaks to the meaning that lies behind words but can’t quite be articulated.\u003c/p>\n\u003cp>Why, though, are the altars blue? Branfman-Verissimo became infatuated with the color when she discovered that the path by which indigo arrived in the Americas mimicked the migration routes of her ancestors: arriving in Brazil, then traveling into the south of the United States via the slave trade. “When I use blue, I feel like it’s a direct honoring of my roots,” she says.\u003c/p>\n\u003cp>Typically, Branfman-Verissimo’s work is partly identifiable by the fact that it’s almost entirely blue. But in \u003cem>I like the way you look at my brown black blue body, I don’t like how my brown black blue body has been historically looked at \u003c/em>the blue pieces stand out as extra authentic, speaking to all that’s left unsaid in the chasm between black and white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the name of the show, in repeating these three colors —black, brown, and blue — I’m asking, ‘How do I paint my identity? My blood?” says Branfman-Verissimo. “Blue, black, and white mixed together is a painting of me.”\u003c/p>\n\n",
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"title": "The Politics of Lukaza Branfman-Verissimo’s Brown, Black, Blue Body | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Donald Trump was elected president, Oakland artist Lukaza Branfman-Verissimo wasted no time. Almost immediately, she grabbed a marker and a plain shirt and essentially created a wearable protest sign. It read, “PROTECT MUSLIM / LATINX / QUEER / BLACK / NATIVE / POCS / FRIENDS.” She took a selfie and posted it to Instagram. Not long after, the artist had created a digital poster that expanded her initial list to include “immigrant,” “trans,” “LGBTQ+,” “low income,” and “artist.” Soon enough, she was silk-screening posters and shirts for anyone interested.\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>The Oakland artist’s \u003ca href=\"http://www.lukazabranfman-verissimo.com/\">work\u003c/a> is typically based in social practice such as gathering people for conversations and collecting oral histories. At the end of 2015, for instance, she \u003ca href=\"http://www.eastbayexpress.com/oakland/spinning-stories-in-sculpture/Content?oid=4604851\">did a residency\u003c/a> at E.M. Wolfman bookstore that involved hosting open listening sessions to hear people’s stories, then creating a collection of small found-object sculptures inspired by them.\u003c/p>\n\u003cp>But amid the recent political climate, Branfman-Verissimo has been increasingly interested in making signs. Being the Los Angeles-raised daughter of an Afro-Brazilian father involved in the Brazilian black power movement and a Jewish-American mother with familial ties to the communist party, protest signs are a familiar form, she tells me. But Branfman-Verissimo’s new body of work both champions and complicates the medium.\u003c/p>\n\u003cfigure id=\"attachment_12649463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-800x450.jpg\" alt=\"Artist Lukaza Branfman-Verissimo inside her solo show at Lago Projects.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12649463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lukaza.Inline-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lukaza Branfman-Verissimo inside her solo show at Lago Projects. \u003ccite>(Photo: Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her solo show, \u003cem>I like the way you look at my brown black blue body, I don’t like how my brown black blue body has been historically looked at, \u003c/em>currently at the brand-new \u003ca href=\"http://lagoprojects.com/\">Lago Projects\u003c/a> in Oakland, Branfman-Verissimo digs into the question of what it means to be a brown person in America today. As she puts it, the show is “thinking about brown bodies in my community of Oakland and nationally through examining my own self and looking at the dualities of being a mixed brown-black-white body.” And she does so, in part, through signage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Three black and white signs command the gallery. Their textured, inconsistent lettering feels as personal as a signature, but the form itself calls to mind iconic civil rights signs of the ’60s declaring “\u003ca href=\"http://pictures.ozy.com/pictures/1500xany/7/3/5/75735_BE001140.jpg\" target=\"_blank\" rel=\"noopener\">I AM A MAN\u003c/a>.” Branfman-Verissimo’s though, declares, “PART WHITE SUGAR PART BLACK GIRL MAGIC.” That’s her ode to self, a statement about the way that her body is looked at by others every day.\u003c/p>\n\u003cp>“WRAPPED HELD PIERCED MARKED” screams another sign, dedicated to the way black and brown women have historically been treated in Oakland. The third, which reads “PASSION FRUIT,” alludes to the artist’s Afro-Brazilian heritage. She made it “just thinking about all the times my name has been called ‘exotic’ throughout my life,” she said.\u003c/p>\n\u003cp>Arranged in a triangle, the trio of paintings work like signposts to position the artist’s place in the world. But in their simplicity, the pieces also belie the limits of language when it comes to such ineffable notions as a person’s identity. Like bodies placed into colored categories, labels can only relay so much about someone’s sense of self, the work seems to say.\u003c/p>\n\u003cfigure id=\"attachment_12622999\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12622999\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9057-800x1028.jpg\" alt=\"Lukaza Branfman-Verissimo's altar to black and brown women. \" width=\"332\" height=\"393\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo’s altar to black and brown women. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walking past the signs reveals that each is propped up by a blue altar made of small sculptures and collected objects. The altar to the self includes a \u003cem>lukasa\u003c/em>, a pneumonic sculpture used in Congolese culture to tell stories (also, the artist’s namesake); while the altar to women of color includes a framed list of black and brown women killed by the Oakland police last year. Each speaks to the meaning that lies behind words but can’t quite be articulated.\u003c/p>\n\u003cp>Why, though, are the altars blue? Branfman-Verissimo became infatuated with the color when she discovered that the path by which indigo arrived in the Americas mimicked the migration routes of her ancestors: arriving in Brazil, then traveling into the south of the United States via the slave trade. “When I use blue, I feel like it’s a direct honoring of my roots,” she says.\u003c/p>\n\u003cp>Typically, Branfman-Verissimo’s work is partly identifiable by the fact that it’s almost entirely blue. But in \u003cem>I like the way you look at my brown black blue body, I don’t like how my brown black blue body has been historically looked at \u003c/em>the blue pieces stand out as extra authentic, speaking to all that’s left unsaid in the chasm between black and white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the name of the show, in repeating these three colors —black, brown, and blue — I’m asking, ‘How do I paint my identity? My blood?” says Branfman-Verissimo. “Blue, black, and white mixed together is a painting of me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At MoAD, Open-Ended 'Where Is Here' Reaches Beyond the Museum's Walls",
"headTitle": "At MoAD, Open-Ended ‘Where Is Here’ Reaches Beyond the Museum’s Walls | KQED",
"content": "\u003cp>Said out loud, \u003cem>Where Is Here\u003c/em> rolls off the tongue softly. When devoid of punctuation, the phrase is neither a question nor a firm statement.\u003c/p>\n\u003cp>Is “here” a seemingly straightforward location? Is “where,” used most often when lost or uncertain, instead accessible and knowable? What exists between the certainty and mystery both words might contain?\u003c/p>\n\u003cp>Questions like these spurred Bay Area curators Jacqueline Francis and Kathy Zarur when they began discussing the possibility of an exhibition dedicated to “place” and “space” over six years ago. \u003ca href=\"http://www.moadsf.org/exhibition/where-is-here/\" target=\"_blank\" rel=\"noopener\">\u003cem>Where Is Here\u003c/em>\u003c/a>, on view through April 2 at the \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of African Diaspora\u003c/a> (MoAD) in San Francisco, doesn’t promise answers. Like its title, the exhibition is open-ended and exploratory, featuring works by 10 contemporary artists of African descent.\u003c/p>\n\u003cfigure id=\"attachment_12636852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg\" alt=\"'Where Is Here,' installation view.\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1920x881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-960x441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Where Is Here,’ installation view. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> is a truly multidisciplinary showcase, as diverse in media as it is in thematic approaches to the questions posed. It’s rare to find a group exhibition that coheres with such vibrancy.\u003c/p>\n\u003cp>I spoke with the curators on site at the museum in late December. They described the exhibition’s trajectory as though it were a living thing, one that evolved with each studio visit, changed during the installation process, and productively affected their public programming. Although curating always means more than choosing and arranging artworks in a space, these co-curators extended the exhibition’s reach beyond the walls of the museum.\u003c/p>\n\u003ch3>Curating beyond the walls\u003c/h3>\n\u003cp>The exhibition intentionally includes both local and global artists, reflecting the specificity of the San Francisco Bay Area as well as MoAD’s international focus. The artworks include virtual reality, abstract paintings, photographs, prose, and, most unexpectedly, song tracks from \u003ca href=\"http://www.brounsoun.com/\">Broun Fellinis\u003c/a>, a San Francisco jazz group founded in the 1990s.\u003c/p>\n\u003cfigure id=\"attachment_12636853\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12636853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg\" alt=\"Broun Fellinis.\" width=\"1196\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-520x347.jpg 520w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Broun Fellinis. \u003ccite>(Courtesy Broun Fellinis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> joins in conversation with a concurrent nearby show, Root Division’s \u003cem>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/call-beauty\">Call for Beauty\u003c/a>\u003c/em>, an exhibition exploring “alternatives to the ugliness” of present-day politics from Black artistic perspectives. Linking the two shows are performances by Broun Fellinis — \u003ca href=\"http://www.moadsf.org/event/performance-the-broun-fellinis-at-root-division/?instance_id=13644\" target=\"_blank\" rel=\"noopener\">Feb. 11\u003c/a> at Root Division and \u003ca href=\"http://www.moadsf.org/event/performance-broun-fellinis/?instance_id=13673\">March 2\u003c/a> at MoAD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Treating the music as performance art, Francis notes, acknowledges that “a performance is about space, and is something unique to a moment.”\u003c/p>\n\u003ch3>The presence and absence of the figure\u003c/h3>\n\u003cp>The exhibition also includes a robust \u003ca href=\"http://www.moadsf.org/calendar/\" target=\"_blank\" rel=\"noopener\">film screening series\u003c/a> (including early work from \u003ci>Moonlight\u003c/i> director Barry Jenkins) and \u003ca href=\"http://www.moadsf.org/event/moad-and-the-sfsu-poetry-center-present-navigating-space-for-women-through-poetry-literature-and-art/?instance_id=13659\" target=\"_blank\" rel=\"noopener\">a literature and arts panel\u003c/a> in partnership with the San Francisco State University Poetry Center. Such events, like the performances, bring audience members together, physically and spatially.\u003c/p>\n\u003cp>In contrast, there’s an absence of the human figure in the artwork of \u003cem>Where Is Here\u003c/em>. That’s intentional, something the curators took as a productive challenge. Francis says that she and Zarur wondered, “Could the story, or any stories of place, be told without the human figure? Can we think about the ‘where’ of any location without seeing a figure?” she says. “We were interested in seeing how the works stood on their own.”\u003c/p>\n\u003cfigure id=\"attachment_12637042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637042\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg\" alt=\"Installation view of 'Where Is Here.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Where Is Here.’ \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, Zarur says, “The body is still here, regardless of its visual absence.” Some of the works explore structures that shelter bodies (\u003ca href=\"http://adiamillett.com/\" target=\"_blank\" rel=\"noopener\">Adia Millett\u003c/a>’s site-specific installation of blown-apart homes and barns; \u003ca href=\"http://vigilism.com/\" target=\"_blank\" rel=\"noopener\">Olaleken Jeyfious\u003c/a>’s architectural structures), whereas others more obliquely reference presence, like \u003ca href=\"http://allandesouza.com/\" target=\"_blank\" rel=\"noopener\">Allan deSouza\u003c/a>’s video works of unnamed shorelines.\u003c/p>\n\u003cp>Bay Area artist \u003ca href=\"http://www.asyaabdrahman.com/\" target=\"_blank\" rel=\"noopener\">Asya Abdraman\u003c/a>’s sculpture series, \u003cem>In Her Shoes\u003c/em>, is an example of how intertwined space, place, and bodily presence can be. The artist collects old shoes from friends and family, which she then decorates with natural materials like moss.\u003c/p>\n\u003cp>As Zarur says, Abdraman’s objects hold private stories as well as public topics, such as struggles over natural resources and land use. “These shoes may be aesthetically beautiful, but they speak to pain on both collective and individual levels,” Zarur says.\u003c/p>\n\u003cfigure id=\"attachment_12637043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg\" alt=\"Asya Abrahman, 'In Her Shoes,' 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asya Abrahman, ‘In Her Shoes,’ 2016. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many works in \u003cem>Where Is Here\u003c/em>, Abdrahman’s sculptures remind us that places are both personal and political. Indeed, that which might seem the most personal — home — is, for many, caught up in public struggles over resources, property, and citizenship.\u003c/p>\n\u003ch3>Playing with space\u003c/h3>\n\u003cp>Elsewhere, the exhibition gives some artists incentive to try out new displays. \u003ca href=\"http://www.lavaughnbelle.com/\">LaVaughn Belle\u003c/a>’s paintings of colonial porcelain plates already evoke multiple histories and locales: East Asia, where the blue and white patterns began; European craft, which appropriated the patterns; and St. Croix, where remnants of these plates are often found in shards.\u003c/p>\n\u003cp>“You find these broken pieces in the earth in St. Croix because people just throw them out when they’re done,” Francis says. “To get that sense of that St. Croix locale, we created for this exhibition this little bit of potting soil with shards the artist sent us from the Virgin Islands.”\u003c/p>\n\u003cfigure id=\"attachment_12637044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg\" alt=\"Installation view of LaVaughn Belle's work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of LaVaughn Belle’s work. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>When here isn’t home\u003c/h3>\n\u003cp>When thinking about place and space, the concept of home is never far behind. Home seems like such a personal thing, something one can lays claim to and adheres to. But, of course, this is not necessarily the story everyone gets to have. Zarur’s own experiences exemplify this, as someone from the Bay Area who traveled and lived abroad for many years. When she returned recently, she found the housing prices impossible.\u003c/p>\n\u003cp>“I couldn’t help but feel like an exile in my own city because I can’t afford it anymore,” Zarur says. “[When curating this show,] it was important to reference San Francisco as part of the story. It’s one of the undercurrents. We talked about displacement, who can live where, and thought about what forces determine the answers to those questions.”\u003c/p>\n\u003cp>Hence, Francis says, the title \u003cem>Where Is Here\u003c/em>. “It’s not exclusively a question nor is it a declarative statement,” she says. “It’s supposed to be open, in the way that that phrase is always a negotiation.”\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>‘Where Is Here’ is on view at through April 2 at the Museum of African Disapora in San Francisco. For tickets and information, visit \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A group exhibition curated by Jacqueline Francis and Kathy Zarur coheres with rare vibrancy around ideas of space and place.",
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"title": "At MoAD, Open-Ended 'Where Is Here' Reaches Beyond the Museum's Walls | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Said out loud, \u003cem>Where Is Here\u003c/em> rolls off the tongue softly. When devoid of punctuation, the phrase is neither a question nor a firm statement.\u003c/p>\n\u003cp>Is “here” a seemingly straightforward location? Is “where,” used most often when lost or uncertain, instead accessible and knowable? What exists between the certainty and mystery both words might contain?\u003c/p>\n\u003cp>Questions like these spurred Bay Area curators Jacqueline Francis and Kathy Zarur when they began discussing the possibility of an exhibition dedicated to “place” and “space” over six years ago. \u003ca href=\"http://www.moadsf.org/exhibition/where-is-here/\" target=\"_blank\" rel=\"noopener\">\u003cem>Where Is Here\u003c/em>\u003c/a>, on view through April 2 at the \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of African Diaspora\u003c/a> (MoAD) in San Francisco, doesn’t promise answers. Like its title, the exhibition is open-ended and exploratory, featuring works by 10 contemporary artists of African descent.\u003c/p>\n\u003cfigure id=\"attachment_12636852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg\" alt=\"'Where Is Here,' installation view.\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1920x881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-960x441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Where Is Here,’ installation view. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> is a truly multidisciplinary showcase, as diverse in media as it is in thematic approaches to the questions posed. It’s rare to find a group exhibition that coheres with such vibrancy.\u003c/p>\n\u003cp>I spoke with the curators on site at the museum in late December. They described the exhibition’s trajectory as though it were a living thing, one that evolved with each studio visit, changed during the installation process, and productively affected their public programming. Although curating always means more than choosing and arranging artworks in a space, these co-curators extended the exhibition’s reach beyond the walls of the museum.\u003c/p>\n\u003ch3>Curating beyond the walls\u003c/h3>\n\u003cp>The exhibition intentionally includes both local and global artists, reflecting the specificity of the San Francisco Bay Area as well as MoAD’s international focus. The artworks include virtual reality, abstract paintings, photographs, prose, and, most unexpectedly, song tracks from \u003ca href=\"http://www.brounsoun.com/\">Broun Fellinis\u003c/a>, a San Francisco jazz group founded in the 1990s.\u003c/p>\n\u003cfigure id=\"attachment_12636853\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12636853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg\" alt=\"Broun Fellinis.\" width=\"1196\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-520x347.jpg 520w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Broun Fellinis. \u003ccite>(Courtesy Broun Fellinis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> joins in conversation with a concurrent nearby show, Root Division’s \u003cem>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/call-beauty\">Call for Beauty\u003c/a>\u003c/em>, an exhibition exploring “alternatives to the ugliness” of present-day politics from Black artistic perspectives. Linking the two shows are performances by Broun Fellinis — \u003ca href=\"http://www.moadsf.org/event/performance-the-broun-fellinis-at-root-division/?instance_id=13644\" target=\"_blank\" rel=\"noopener\">Feb. 11\u003c/a> at Root Division and \u003ca href=\"http://www.moadsf.org/event/performance-broun-fellinis/?instance_id=13673\">March 2\u003c/a> at MoAD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treating the music as performance art, Francis notes, acknowledges that “a performance is about space, and is something unique to a moment.”\u003c/p>\n\u003ch3>The presence and absence of the figure\u003c/h3>\n\u003cp>The exhibition also includes a robust \u003ca href=\"http://www.moadsf.org/calendar/\" target=\"_blank\" rel=\"noopener\">film screening series\u003c/a> (including early work from \u003ci>Moonlight\u003c/i> director Barry Jenkins) and \u003ca href=\"http://www.moadsf.org/event/moad-and-the-sfsu-poetry-center-present-navigating-space-for-women-through-poetry-literature-and-art/?instance_id=13659\" target=\"_blank\" rel=\"noopener\">a literature and arts panel\u003c/a> in partnership with the San Francisco State University Poetry Center. Such events, like the performances, bring audience members together, physically and spatially.\u003c/p>\n\u003cp>In contrast, there’s an absence of the human figure in the artwork of \u003cem>Where Is Here\u003c/em>. That’s intentional, something the curators took as a productive challenge. Francis says that she and Zarur wondered, “Could the story, or any stories of place, be told without the human figure? Can we think about the ‘where’ of any location without seeing a figure?” she says. “We were interested in seeing how the works stood on their own.”\u003c/p>\n\u003cfigure id=\"attachment_12637042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637042\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg\" alt=\"Installation view of 'Where Is Here.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Where Is Here.’ \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, Zarur says, “The body is still here, regardless of its visual absence.” Some of the works explore structures that shelter bodies (\u003ca href=\"http://adiamillett.com/\" target=\"_blank\" rel=\"noopener\">Adia Millett\u003c/a>’s site-specific installation of blown-apart homes and barns; \u003ca href=\"http://vigilism.com/\" target=\"_blank\" rel=\"noopener\">Olaleken Jeyfious\u003c/a>’s architectural structures), whereas others more obliquely reference presence, like \u003ca href=\"http://allandesouza.com/\" target=\"_blank\" rel=\"noopener\">Allan deSouza\u003c/a>’s video works of unnamed shorelines.\u003c/p>\n\u003cp>Bay Area artist \u003ca href=\"http://www.asyaabdrahman.com/\" target=\"_blank\" rel=\"noopener\">Asya Abdraman\u003c/a>’s sculpture series, \u003cem>In Her Shoes\u003c/em>, is an example of how intertwined space, place, and bodily presence can be. The artist collects old shoes from friends and family, which she then decorates with natural materials like moss.\u003c/p>\n\u003cp>As Zarur says, Abdraman’s objects hold private stories as well as public topics, such as struggles over natural resources and land use. “These shoes may be aesthetically beautiful, but they speak to pain on both collective and individual levels,” Zarur says.\u003c/p>\n\u003cfigure id=\"attachment_12637043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg\" alt=\"Asya Abrahman, 'In Her Shoes,' 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asya Abrahman, ‘In Her Shoes,’ 2016. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many works in \u003cem>Where Is Here\u003c/em>, Abdrahman’s sculptures remind us that places are both personal and political. Indeed, that which might seem the most personal — home — is, for many, caught up in public struggles over resources, property, and citizenship.\u003c/p>\n\u003ch3>Playing with space\u003c/h3>\n\u003cp>Elsewhere, the exhibition gives some artists incentive to try out new displays. \u003ca href=\"http://www.lavaughnbelle.com/\">LaVaughn Belle\u003c/a>’s paintings of colonial porcelain plates already evoke multiple histories and locales: East Asia, where the blue and white patterns began; European craft, which appropriated the patterns; and St. Croix, where remnants of these plates are often found in shards.\u003c/p>\n\u003cp>“You find these broken pieces in the earth in St. Croix because people just throw them out when they’re done,” Francis says. “To get that sense of that St. Croix locale, we created for this exhibition this little bit of potting soil with shards the artist sent us from the Virgin Islands.”\u003c/p>\n\u003cfigure id=\"attachment_12637044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg\" alt=\"Installation view of LaVaughn Belle's work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of LaVaughn Belle’s work. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>When here isn’t home\u003c/h3>\n\u003cp>When thinking about place and space, the concept of home is never far behind. Home seems like such a personal thing, something one can lays claim to and adheres to. But, of course, this is not necessarily the story everyone gets to have. Zarur’s own experiences exemplify this, as someone from the Bay Area who traveled and lived abroad for many years. When she returned recently, she found the housing prices impossible.\u003c/p>\n\u003cp>“I couldn’t help but feel like an exile in my own city because I can’t afford it anymore,” Zarur says. “[When curating this show,] it was important to reference San Francisco as part of the story. It’s one of the undercurrents. We talked about displacement, who can live where, and thought about what forces determine the answers to those questions.”\u003c/p>\n\u003cp>Hence, Francis says, the title \u003cem>Where Is Here\u003c/em>. “It’s not exclusively a question nor is it a declarative statement,” she says. “It’s supposed to be open, in the way that that phrase is always a negotiation.”\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>‘Where Is Here’ is on view at through April 2 at the Museum of African Disapora in San Francisco. For tickets and information, visit \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Toni Erdmann': A Practical-Joking Dad And His Too-Practical Daughter",
"headTitle": "‘Toni Erdmann’: A Practical-Joking Dad And His Too-Practical Daughter | KQED",
"content": "\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\u003c/p>\n\u003cp>https://youtu.be/j0uwi5EPnpA\u003c/p>\n\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Erdmann\u003c/em> is silly yet profoundly moving, a movie that speaks to the human disconnect of our time. We are born into our parents, not our jobs, and yet in adulthood we essentially choose a new set of life lessons over the ones they instilled in us. Can the power of the Dad Joke help us rediscover our old, shared universe in time? “Don’t lose the humor,” Toni solemnly instructs at one point, to a Romanian stranger who doesn’t speak his language. It’s one of the only moments when he’s completely serious.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\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/j0uwi5EPnpA'\n title='//www.youtube.com/embed/j0uwi5EPnpA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Toni Erdmann\u003c/em> is silly yet profoundly moving, a movie that speaks to the human disconnect of our time. We are born into our parents, not our jobs, and yet in adulthood we essentially choose a new set of life lessons over the ones they instilled in us. Can the power of the Dad Joke help us rediscover our old, shared universe in time? “Don’t lose the humor,” Toni solemnly instructs at one point, to a Romanian stranger who doesn’t speak his language. It’s one of the only moments when he’s completely serious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The upper deck of 90-foot party yacht the Empress of Sausalito looks and sounds like a misfiring spaceship engine.\u003c/p>\n\u003cp>Hovering over a thicket of wires on folding tables, two longhairs in shades conjure skittish blips with luminous, homemade sound wands. And as strobe lights begin to flare in and out of phase with a gut-grabbing barrage of low-end kick, Angel Island passes by the starboard window. Thirty-some passengers suspect the surf just got choppier.\u003c/p>\n\u003cp>“I’m in a delicate space up here,” says Captain Augustino, a San Francisco Bay lifer idly steering with one foot in the dark wheelhouse. “So it’s nice to hear these random tones rather than copy-and-paste rap, or rock, which I think is really dead. … There are these abstract correlations with how I’m feeling, like, what I feel and what I think are clashing. This music is like that.”\u003c/p>\n\u003cfigure id=\"attachment_12636273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg\" alt=\"MSHR\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re attending, or unwittingly participating in, an installation-cum-social experiment dubbed \u003ca href=\"https://www.facebook.com/events/1627719017521960/\" target=\"_blank\" rel=\"noopener\">\u003cem>Attention! We’ve Moved\u003c/em>\u003c/a> on Thursday evening, Jan. 12. It’s the work of Oakland nautical artist \u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>, whose practice points to possibility on bodies of water, and Dena Beard, the Mission District arts space director who sees the project partly as a puckish response to the City of San Francisco’s effective banishment of noise performances at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>.\u003c/p>\n\u003cp>“With the programming, I wanted to highlight noise, that aggressive cacophony and dissonance,” Beard tells me. “Specifically I wanted to highlight how gentrification affected The Lab in the sense that the city imposed a noise cap on us — basically making it illegal to do an entire genre of music we were known for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Dynasty Handbag, the evening’s delightfully crabby emcee in pancake makeup, “Noise probably means garbage music by failed musicians.”\u003c/p>\n\u003cp>It’s VIP preview night ($160), meaning at least one venture capitalist is fingering free grapes on the yacht’s lower deck with some fellow white-shirts — hipped to the voyage, no doubt, by its association with the inaugural San Francisco edition of UNTITLED art fair at Pier 70 the same weekend. Tickets to the next four cruises, twice each on Friday and Saturday night, cost $35 each. And they’re selling out.\u003c/p>\n\u003cfigure id=\"attachment_12636274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg\" alt=\"Dynasty Handbag\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-520x416.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dynasty Handbag. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I thought we shouldn’t be part of an art fair. We have nothing to sell,” Beard says, noting The Lab’s commitment to interrogating the conventions of arts funding. “But then I started thinking about Pier 70’s history of radical underground activity, and I thought, ‘Okay, I’ll participate if I can recreate the sort of events that are getting threatened or displaced in the Bay Area.’”\u003c/p>\n\u003cp>“I used to live here,” reflects Dynasty Handbag. “I hated it.”\u003c/p>\n\u003cp>Hockaday — whose earlier projects include a floating peepshow, inspired by the 2014 closures of worker-owned strip club the Lusty Lady and Latino gay bar Esta Noche — prefers not to drastically transform the boats she commissions in her work. The Empress’ most prominent embellishment is an arched white neon-sign on the lower deck. It reads, “Everybody’s.”\u003c/p>\n\u003cp>That refers to how the water and shores technically belong to the public, she tells me, although they’re managed and overseen by a trustee, the Port of San Francisco. “Like the water, the land moves, only slower — and yet we divide it up and stake claims to it,” she says. “Whereas the tidelands are subject to the public-trust doctrine.”\u003c/p>\n\u003cp>After MSHR, the New York duo with the wands, comes Las Sucias. The local group, composed of Alexandra Buschman and Danishta Rivero, meddles with an altar of trinkets and electronics, spitting volleys of vernacular Spanish atop reggaetón-inspired beats. “It’s more rhythmic [than MSHR],” observes Captain Augustino. “But it’s not copy-and-paste.”\u003c/p>\n\u003cp>And then there’s Voicehandler, an improvisational duo composed of Rivero and percussionist Jacob Felix Heule. Rather than her trenchant delivery with Las Sucias, Rivero marshals an incantatory, subtly modulated melisma up from the core of her body, while Heule keeps a kinetic patter on his personalized trap kit. Following the set is longtime Bay Area experimentalist Kevin Blechdom, with a cracked song-and-dance act.\u003c/p>\n\u003cfigure id=\"attachment_12636275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg\" alt='The \"noise table\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “noise table” used by MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Captain Augustino isn’t listening too closely. He has an audience up in the wheelhouse, and he’s talking about his late father, a master square-rigger (think pirate ships) — in fact, “one of only three master square-riggers in the world,” he says. “Now there are two.”\u003c/p>\n\u003cp>Beard didn’t grow up sailing historic vessels like Captain Augustino, but her family lived together on a boat for a while. “You put people in a boat on a body of water and a sense of camaraderie and risk happens,” she says.\u003c/p>\n\u003cp>“It’s a non-normative space, so it shifts, very basically, the ways we perceive performance art. And I do think that when every inch of our immediate vicinity becomes uninhabitable or over-regulated, we should look to the water as another option.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The upper deck of 90-foot party yacht the Empress of Sausalito looks and sounds like a misfiring spaceship engine.\u003c/p>\n\u003cp>Hovering over a thicket of wires on folding tables, two longhairs in shades conjure skittish blips with luminous, homemade sound wands. And as strobe lights begin to flare in and out of phase with a gut-grabbing barrage of low-end kick, Angel Island passes by the starboard window. Thirty-some passengers suspect the surf just got choppier.\u003c/p>\n\u003cp>“I’m in a delicate space up here,” says Captain Augustino, a San Francisco Bay lifer idly steering with one foot in the dark wheelhouse. “So it’s nice to hear these random tones rather than copy-and-paste rap, or rock, which I think is really dead. … There are these abstract correlations with how I’m feeling, like, what I feel and what I think are clashing. This music is like that.”\u003c/p>\n\u003cfigure id=\"attachment_12636273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg\" alt=\"MSHR\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re attending, or unwittingly participating in, an installation-cum-social experiment dubbed \u003ca href=\"https://www.facebook.com/events/1627719017521960/\" target=\"_blank\" rel=\"noopener\">\u003cem>Attention! We’ve Moved\u003c/em>\u003c/a> on Thursday evening, Jan. 12. It’s the work of Oakland nautical artist \u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>, whose practice points to possibility on bodies of water, and Dena Beard, the Mission District arts space director who sees the project partly as a puckish response to the City of San Francisco’s effective banishment of noise performances at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>.\u003c/p>\n\u003cp>“With the programming, I wanted to highlight noise, that aggressive cacophony and dissonance,” Beard tells me. “Specifically I wanted to highlight how gentrification affected The Lab in the sense that the city imposed a noise cap on us — basically making it illegal to do an entire genre of music we were known for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Dynasty Handbag, the evening’s delightfully crabby emcee in pancake makeup, “Noise probably means garbage music by failed musicians.”\u003c/p>\n\u003cp>It’s VIP preview night ($160), meaning at least one venture capitalist is fingering free grapes on the yacht’s lower deck with some fellow white-shirts — hipped to the voyage, no doubt, by its association with the inaugural San Francisco edition of UNTITLED art fair at Pier 70 the same weekend. Tickets to the next four cruises, twice each on Friday and Saturday night, cost $35 each. And they’re selling out.\u003c/p>\n\u003cfigure id=\"attachment_12636274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg\" alt=\"Dynasty Handbag\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-520x416.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dynasty Handbag. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I thought we shouldn’t be part of an art fair. We have nothing to sell,” Beard says, noting The Lab’s commitment to interrogating the conventions of arts funding. “But then I started thinking about Pier 70’s history of radical underground activity, and I thought, ‘Okay, I’ll participate if I can recreate the sort of events that are getting threatened or displaced in the Bay Area.’”\u003c/p>\n\u003cp>“I used to live here,” reflects Dynasty Handbag. “I hated it.”\u003c/p>\n\u003cp>Hockaday — whose earlier projects include a floating peepshow, inspired by the 2014 closures of worker-owned strip club the Lusty Lady and Latino gay bar Esta Noche — prefers not to drastically transform the boats she commissions in her work. The Empress’ most prominent embellishment is an arched white neon-sign on the lower deck. It reads, “Everybody’s.”\u003c/p>\n\u003cp>That refers to how the water and shores technically belong to the public, she tells me, although they’re managed and overseen by a trustee, the Port of San Francisco. “Like the water, the land moves, only slower — and yet we divide it up and stake claims to it,” she says. “Whereas the tidelands are subject to the public-trust doctrine.”\u003c/p>\n\u003cp>After MSHR, the New York duo with the wands, comes Las Sucias. The local group, composed of Alexandra Buschman and Danishta Rivero, meddles with an altar of trinkets and electronics, spitting volleys of vernacular Spanish atop reggaetón-inspired beats. “It’s more rhythmic [than MSHR],” observes Captain Augustino. “But it’s not copy-and-paste.”\u003c/p>\n\u003cp>And then there’s Voicehandler, an improvisational duo composed of Rivero and percussionist Jacob Felix Heule. Rather than her trenchant delivery with Las Sucias, Rivero marshals an incantatory, subtly modulated melisma up from the core of her body, while Heule keeps a kinetic patter on his personalized trap kit. Following the set is longtime Bay Area experimentalist Kevin Blechdom, with a cracked song-and-dance act.\u003c/p>\n\u003cfigure id=\"attachment_12636275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg\" alt='The \"noise table\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “noise table” used by MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Captain Augustino isn’t listening too closely. He has an audience up in the wheelhouse, and he’s talking about his late father, a master square-rigger (think pirate ships) — in fact, “one of only three master square-riggers in the world,” he says. “Now there are two.”\u003c/p>\n\u003cp>Beard didn’t grow up sailing historic vessels like Captain Augustino, but her family lived together on a boat for a while. “You put people in a boat on a body of water and a sense of camaraderie and risk happens,” she says.\u003c/p>\n\u003cp>“It’s a non-normative space, so it shifts, very basically, the ways we perceive performance art. And I do think that when every inch of our immediate vicinity becomes uninhabitable or over-regulated, we should look to the water as another option.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n\u003c/div>\u003c/p>",
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"title": "Lauren McKeon Upends Modern 'Don'ts' at Interface Gallery",
"headTitle": "Lauren McKeon Upends Modern ‘Don’ts’ at Interface Gallery | KQED",
"content": "\u003cp>The elements in Lauren McKeon’s first solo show at Oakland’s Interface Gallery, \u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">dos and donts, but mostly donts\u003c/a>\u003c/i>, sit throughout the small space like props in a Nikolai Gogol play. I say a Gogol play mostly because of \u003ca href=\"https://en.wikipedia.org/wiki/The_Nose_(Gogol_short_story)\" target=\"_blank\" rel=\"noopener\">the mysterious bronze nose\u003c/a> resting in one corner of the gallery, a shiny protuberance titled \u003ci>Parts to rub\u003c/i>.\u003c/p>\n\u003cp>The theatrical atmosphere is anchored by \u003ci>Untitled\u003c/i>, an 8-by-9-foot prop doorway laying flat on most of Interface’s square footage. The matte-black framework would overwhelm the delicate arrangement of objects in the space were it not horizontal and utterly useless.\u003c/p>\n\u003cfigure id=\"attachment_12618324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg\" alt=\"Lauren McKeon, 'Parts to rub,' bronze.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Parts to rub,’ bronze. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Something face down is both tragic and funny,” McKeon says of the sculpture, made in memory of a friend who fell to his death.\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> calls Buster Keaton to mind, but it also conjures thoughts of unmarked, unreachable exits. Assembled on-site, too large to travel through the gallery’s own door, the prop doorway wouldn’t be functional even if it could stand upright. It has no threshold; it’s designed for tripping.\u003c/p>\n\u003cfigure id=\"attachment_12618322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg\" alt=\"Lauren McKeon, Installation view of 'dos and donts but mostly donts.'\" width=\"1200\" height=\"750\" class=\"size-full wp-image-12618322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, Installation view of ‘dos and donts but mostly donts.’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors to \u003ci>dos and donts\u003c/i> must circumnavigate the doorway on the floor. Physical progress through the exhibition is made more difficult by the artist’s active resistance to the “modern myth of human progress” in general.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opposite the gallery entrance, \u003ci>WI-FI\u003c/i>, a seashell carved into the shape of an acrylic nail, sits bedazzled on top of a clear plastic pedestal. Per the artist’s instructions, an Oakland nail shop decorated the nail with silvery flakes, a tiny gold seashell and the cryptic black text “wifi.”\u003c/p>\n\u003cfigure id=\"attachment_12618326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg\" alt=\"Lauren McKeon, 'WI-FI,' seashell, acrylic, nail polish, acrylic display.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘WI-FI,’ seashell, acrylic, nail polish, acrylic display. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the works in the show, McKeon traces the realization of the piece back to a specific experience. On a trip to Essaouira, Morocco, the home of an intense purple dye made from predatory sea snails, McKeon found an analog between an ancient luxury commodity and the rare yet much-sought-after commodity of her own trip: wireless internet.\u003c/p>\n\u003cp>The cryptic, sparkly \u003ci>WI-FI\u003c/i> is yet another mode of adornment — a status symbol of the modern day.\u003c/p>\n\u003cfigure id=\"attachment_12618325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg\" alt=\"Lauren McKeon, 'Encrypted phantom,' beeswax, drone dust.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Encrypted phantom,’ beeswax, drone dust. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In trying to understand (and resist) certain contemporary obsessions, other sculptures in \u003ci>dos and donts\u003c/i> take on more ritualistic forms. \u003ci>Encrypted phantom\u003c/i>, a stocky beeswax candle mixed with the pulverized remnants of a drone once felled by a bird, sits atop a beautifully translucent crystal shelf.\u003c/p>\n\u003cp>McKoen loves the drone’s backstory. “It’s this moment of resistance between nature and progress,” she says, remembering the horror of the drone’s original upon hearing why she bought it.\u003c/p>\n\u003cp>The objects on view at Interface are alluring in no small part because of the carefully considered pedestals, shelves and poles supporting them. McKeon also points to the gallery’s location in Temescal Alley, a quaint corridor of high-end boutique shops. At first glance, \u003ci>dos and donts, but mostly donts\u003c/i> could be mistaken for one of those stores in which the quantity of objects on sale is inversely proportional to the cost of said objects. Then, upon closer inspection, it is revealed the t-shirt against the left wall is tie-dyed with blood. \u003c/p>\n\u003cp>McKeon’s group of odd props are more likely the recipe for an occult ritual that will open a portal in the floor — a doorway down, through and against that list of rules and restrictions we like to call the path toward “progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003ci>\u003cb>dos and donts, but mostly donts\u003c/b> is on view at Interface Gallery in Oakland through Feb. 12. For hours and information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "With an acrylic nail, a bronze nose, a pulverized drone, a stained t-shirt and a door in the floor, 'dos and donts, but mostly donts' throws obstacles in the path of human progress.",
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"description": "With an acrylic nail, a bronze nose, a pulverized drone, a stained t-shirt and a door in the floor, 'dos and donts, but mostly donts' throws obstacles in the path of human progress.",
"title": "Lauren McKeon Upends Modern 'Don'ts' at Interface Gallery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The elements in Lauren McKeon’s first solo show at Oakland’s Interface Gallery, \u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">dos and donts, but mostly donts\u003c/a>\u003c/i>, sit throughout the small space like props in a Nikolai Gogol play. I say a Gogol play mostly because of \u003ca href=\"https://en.wikipedia.org/wiki/The_Nose_(Gogol_short_story)\" target=\"_blank\" rel=\"noopener\">the mysterious bronze nose\u003c/a> resting in one corner of the gallery, a shiny protuberance titled \u003ci>Parts to rub\u003c/i>.\u003c/p>\n\u003cp>The theatrical atmosphere is anchored by \u003ci>Untitled\u003c/i>, an 8-by-9-foot prop doorway laying flat on most of Interface’s square footage. The matte-black framework would overwhelm the delicate arrangement of objects in the space were it not horizontal and utterly useless.\u003c/p>\n\u003cfigure id=\"attachment_12618324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg\" alt=\"Lauren McKeon, 'Parts to rub,' bronze.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Parts to rub,’ bronze. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Something face down is both tragic and funny,” McKeon says of the sculpture, made in memory of a friend who fell to his death.\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> calls Buster Keaton to mind, but it also conjures thoughts of unmarked, unreachable exits. Assembled on-site, too large to travel through the gallery’s own door, the prop doorway wouldn’t be functional even if it could stand upright. It has no threshold; it’s designed for tripping.\u003c/p>\n\u003cfigure id=\"attachment_12618322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg\" alt=\"Lauren McKeon, Installation view of 'dos and donts but mostly donts.'\" width=\"1200\" height=\"750\" class=\"size-full wp-image-12618322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, Installation view of ‘dos and donts but mostly donts.’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors to \u003ci>dos and donts\u003c/i> must circumnavigate the doorway on the floor. Physical progress through the exhibition is made more difficult by the artist’s active resistance to the “modern myth of human progress” in general.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opposite the gallery entrance, \u003ci>WI-FI\u003c/i>, a seashell carved into the shape of an acrylic nail, sits bedazzled on top of a clear plastic pedestal. Per the artist’s instructions, an Oakland nail shop decorated the nail with silvery flakes, a tiny gold seashell and the cryptic black text “wifi.”\u003c/p>\n\u003cfigure id=\"attachment_12618326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg\" alt=\"Lauren McKeon, 'WI-FI,' seashell, acrylic, nail polish, acrylic display.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘WI-FI,’ seashell, acrylic, nail polish, acrylic display. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the works in the show, McKeon traces the realization of the piece back to a specific experience. On a trip to Essaouira, Morocco, the home of an intense purple dye made from predatory sea snails, McKeon found an analog between an ancient luxury commodity and the rare yet much-sought-after commodity of her own trip: wireless internet.\u003c/p>\n\u003cp>The cryptic, sparkly \u003ci>WI-FI\u003c/i> is yet another mode of adornment — a status symbol of the modern day.\u003c/p>\n\u003cfigure id=\"attachment_12618325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg\" alt=\"Lauren McKeon, 'Encrypted phantom,' beeswax, drone dust.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Encrypted phantom,’ beeswax, drone dust. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In trying to understand (and resist) certain contemporary obsessions, other sculptures in \u003ci>dos and donts\u003c/i> take on more ritualistic forms. \u003ci>Encrypted phantom\u003c/i>, a stocky beeswax candle mixed with the pulverized remnants of a drone once felled by a bird, sits atop a beautifully translucent crystal shelf.\u003c/p>\n\u003cp>McKoen loves the drone’s backstory. “It’s this moment of resistance between nature and progress,” she says, remembering the horror of the drone’s original upon hearing why she bought it.\u003c/p>\n\u003cp>The objects on view at Interface are alluring in no small part because of the carefully considered pedestals, shelves and poles supporting them. McKeon also points to the gallery’s location in Temescal Alley, a quaint corridor of high-end boutique shops. At first glance, \u003ci>dos and donts, but mostly donts\u003c/i> could be mistaken for one of those stores in which the quantity of objects on sale is inversely proportional to the cost of said objects. Then, upon closer inspection, it is revealed the t-shirt against the left wall is tie-dyed with blood. \u003c/p>\n\u003cp>McKeon’s group of odd props are more likely the recipe for an occult ritual that will open a portal in the floor — a doorway down, through and against that list of rules and restrictions we like to call the path toward “progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003ci>\u003cb>dos and donts, but mostly donts\u003c/b> is on view at Interface Gallery in Oakland through Feb. 12. For hours and information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New to America, Raised in the Tenderloin",
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"content": "\u003cp>Rea Lynn de Guzman’s new show \u003cem>TL Dreams\u003c/em> is a series of memories — a mix of her imagined and lived experiences in the Tenderloin — presented in a wash of bright acrylics and printed organza.\u003c/p>\n\u003cp>But more than anything, the pieces serve as a snapshot of all the different shapes liminality can take.\u003c/p>\n\u003cp>The earlier work in \u003cem>TL Dreams\u003c/em> captures de Guzman’s life mid-transition — her immigration from the Philippines to San Francisco’s Turk Street, her shift from youth to adulthood — in a chromatic palette that’s more fever dream than true-to-life. Children are portrayed in model-esque forms, surrounded by jeepneys and other paraphernalia of a life left in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_12617913\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg\" alt=\"What Could've Been or Not, 2011. Acrylic & image transfer on canvas, 54" x 40" (Photo: Ramon Pintado)\" width=\"1000\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-520x387.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What Could’ve Been or Not,’ 2011. Acrylic & image transfer on canvas, 54″ x 40″. (Photo: Ramon Pintado) \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am interested in the perplexing nature of these in-between, psychological experiences that are often difficult to process or talk about but could possibly flow freely in the form of art,” de Guzman says.\u003c/p>\n\u003cp>The show is inspired by a specific time and place: the Tenderloin in the early aughts, as remembered by de Guzman and fellow immigrant friends in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12617914\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/image1.jpg\" alt=\"Rea Lynn de Guzman stands in front of her work.\" width=\"2048\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-520x367.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rea Lynn de Guzman. \u003ccite>(Photo: Lizzy Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Tenderloin holds a unique, special place in my heart. It’s where I ‘grew up’ in the United States,” de Guzman says. She recalls the neighborhood as a place where she developed friendships with other young immigrants who were similarly struggling to find their place in a new home. The Tenderloin was also where de Guzman began her foray into the arts, painting her very first piece during an art day at the former Tenderloin YMCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet just as present in her memories are the harsh realities of the Tenderloin and the violence that sometimes erupted in her neighborhood, which de Guzman says she revisits and attempts to work out in the second, newer part of her show. “I still have many questions and unresolved emotions about these experiences,” she says, “and I have no single answer to it.”\u003c/p>\n\u003cfigure id=\"attachment_12617915\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg\" alt='\"Skewed Fusion,\" Image transfer on synthetic organza, 16\" x 20\" framed' width=\"2048\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1920x1392.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-520x377.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Skewed Fusion,’ Image transfer on synthetic organza, 16″ x 20″ framed. \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>de Guzman opts for more muted colors in her recent pieces, her subjects less defined against the cityscapes image-transferred onto organza. They almost serve as a retrospective of both her previous work and her previous self, her restrained palette intentional in both mood and message (she says her move toward brown tones is an effort to question art’s hegemonic whiteness).\u003c/p>\n\u003cp>Lots of changes have come since de Guzman’s time in the Tenderloin — she has long since relocated to the Castro — but her love for the neighborhood and the memories that linger within it remain close to her heart.\u003c/p>\n\u003cp>“I think many people tend to magnify or focus on superficial stereotypes about the Tenderloin — crime, drugs, seediness,” she says, “but to me it is full of character, with a rich history, and a place to call home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright 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>‘TL Dreams’ runs from Jan. 12–Feb. 23, 2017, with a closing reception and artist lecture on Thursday, Feb. 23 at 7pm at the Tenderloin Museum, co-presented by Root Division. For more information, see \u003ca href=\"https://www.rootdivision.org/exhibition-offsite/rea-lynn-de-guzmans-tl-dreams\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Rea Lynn de Guzman's new show 'TL Dreams' draws upon memories of being a young girl from the Philippines living in San Francisco. ",
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"title": "New to America, Raised in the Tenderloin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rea Lynn de Guzman’s new show \u003cem>TL Dreams\u003c/em> is a series of memories — a mix of her imagined and lived experiences in the Tenderloin — presented in a wash of bright acrylics and printed organza.\u003c/p>\n\u003cp>But more than anything, the pieces serve as a snapshot of all the different shapes liminality can take.\u003c/p>\n\u003cp>The earlier work in \u003cem>TL Dreams\u003c/em> captures de Guzman’s life mid-transition — her immigration from the Philippines to San Francisco’s Turk Street, her shift from youth to adulthood — in a chromatic palette that’s more fever dream than true-to-life. Children are portrayed in model-esque forms, surrounded by jeepneys and other paraphernalia of a life left in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_12617913\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg\" alt=\"What Could've Been or Not, 2011. Acrylic & image transfer on canvas, 54" x 40" (Photo: Ramon Pintado)\" width=\"1000\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-520x387.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What Could’ve Been or Not,’ 2011. Acrylic & image transfer on canvas, 54″ x 40″. (Photo: Ramon Pintado) \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am interested in the perplexing nature of these in-between, psychological experiences that are often difficult to process or talk about but could possibly flow freely in the form of art,” de Guzman says.\u003c/p>\n\u003cp>The show is inspired by a specific time and place: the Tenderloin in the early aughts, as remembered by de Guzman and fellow immigrant friends in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12617914\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/image1.jpg\" alt=\"Rea Lynn de Guzman stands in front of her work.\" width=\"2048\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-520x367.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rea Lynn de Guzman. \u003ccite>(Photo: Lizzy Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Tenderloin holds a unique, special place in my heart. It’s where I ‘grew up’ in the United States,” de Guzman says. She recalls the neighborhood as a place where she developed friendships with other young immigrants who were similarly struggling to find their place in a new home. The Tenderloin was also where de Guzman began her foray into the arts, painting her very first piece during an art day at the former Tenderloin YMCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet just as present in her memories are the harsh realities of the Tenderloin and the violence that sometimes erupted in her neighborhood, which de Guzman says she revisits and attempts to work out in the second, newer part of her show. “I still have many questions and unresolved emotions about these experiences,” she says, “and I have no single answer to it.”\u003c/p>\n\u003cfigure id=\"attachment_12617915\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg\" alt='\"Skewed Fusion,\" Image transfer on synthetic organza, 16\" x 20\" framed' width=\"2048\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1920x1392.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-520x377.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Skewed Fusion,’ Image transfer on synthetic organza, 16″ x 20″ framed. \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>de Guzman opts for more muted colors in her recent pieces, her subjects less defined against the cityscapes image-transferred onto organza. They almost serve as a retrospective of both her previous work and her previous self, her restrained palette intentional in both mood and message (she says her move toward brown tones is an effort to question art’s hegemonic whiteness).\u003c/p>\n\u003cp>Lots of changes have come since de Guzman’s time in the Tenderloin — she has long since relocated to the Castro — but her love for the neighborhood and the memories that linger within it remain close to her heart.\u003c/p>\n\u003cp>“I think many people tend to magnify or focus on superficial stereotypes about the Tenderloin — crime, drugs, seediness,” she says, “but to me it is full of character, with a rich history, and a place to call home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright 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>‘TL Dreams’ runs from Jan. 12–Feb. 23, 2017, with a closing reception and artist lecture on Thursday, Feb. 23 at 7pm at the Tenderloin Museum, co-presented by Root Division. For more information, see \u003ca href=\"https://www.rootdivision.org/exhibition-offsite/rea-lynn-de-guzmans-tl-dreams\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Affleck's 'Live By Night': An Ambitious, Frenetic But Overstuffed Gangster Film",
"headTitle": "Affleck’s ‘Live By Night’: An Ambitious, Frenetic But Overstuffed Gangster Film | KQED",
"content": "\u003cp>Ben Affleck made his debut as a director with 2007’s \u003cem>Gone Baby Gone,\u003c/em> a much-admired adaptation of a Dennis Lehane crime novel. After the success of 2012’s \u003cem>Argo\u003c/em> — which won the Academy Award for best picture without so much as a nomination for Affleck, its director and co-star — he was in a position to choose his projects, but he stuck with the one he’d been eyeing even before \u003cem>Argo\u003c/em> was released: \u003cem>Live By Night,\u003c/em> another Lehane book, this one about a Central Florida bootlegger’s struggles with rival gangsters and the Ku Klux Klan during the late 1920s and early 1930s.\u003c/p>\n\u003cp>But a funny thing happened on the way to the speakeasy: Affleck became a movie star again. He played a murder suspect in \u003cem>Gone Girl\u003c/em>, a critical and commercial hit, and signed a multi-picture deal as the latest Batman.\u003cem> Live by Night \u003c/em>was repeatedly back-burnered.\u003c/p>\n\u003cp>Now that it’s finally here, the finished film betrays its writer, producer, director, and star’s divided attention. The picture is handsome and ambitious but maddeningly unfocused. It aspires to be a grand meditation on American corruption in the vein of \u003cem>Once Upon a Time in America\u003c/em> or \u003cem>There Will Be Blood. \u003c/em>But in the end, it’s just a slightly better-than-mediocre genre picture, one literally dressed up in fancy clothes. (Affleck’s dozens of pinstripe suits and fedoras must have taken a substantial bite out of its $65 million budget.)\u003c/p>\n\u003cp>https://youtu.be/ClcQUlXcCKw\u003c/p>\n\u003cp>Part of the problem is Affleck’s screenplay, which tries to preserve more of Lehane’s 400-page book (itself the middle installment in a trilogy) than the film’s 128-minute run time can handle. The first act, which establishes Affleck’s Joe Coughlin as World War I vet-turned-hoodlum in Prohibition-era Boston, is particularly bloated. Coughlin is in love with a mobster’s mistress (Sienna Miller), and after a botched heist and a betrayal by his moll, he finds himself beaten and about to be murdered. His police-captain father (Brendan Gleeson, a pleasure to watch no matter how small the role) saves his life, and even blackmails a District Attorney to secure leniency for his son’s many crimes. Coughlin serves three years in prison, then finds himself drafted into the service of Italian mob capo (Remo Girone), who sends him to Tampa to clean up his operation illegally importing Cuban rum. Want to know more about how the son of a high-ranking cop became a crook? Me, too. Guess I’ll have to read Lehane’s book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, the movie should’ve eighty-sixed all that preamble and just opened with Coughlin getting off the train in Ybor City, where it finally manages a foothold on some less-trod narrative turf. Affleck has some nice chemistry with Chris Messina, who plays his lieutenant and guide to the shadowy parts of the Sunshine State, and his relationship with Chris Cooper — as Irving Figgis, a pragmatic lawman who’s willing to turn a blind eye to crimes of vice if the crooks keep violence to a minimum — is the picture’s most intriguing. Figgis has a teenage daughter, Loretta (Elle Fanning), who’s off to be a star in Hollywood. Of all the story’s shaggy turns, that Chief Figgis has given his blessing to this plan is the hardest to swallow.\u003c/p>\n\u003cp>Coughlin is a Irish Catholic working for Italians, romantically involved with a Cuban woman (Zoe Saldana), and running speakeasies that cater to black people. Any one of those would be reason enough to rile the KKK. Stopping a local Klansman from bombing and shooting up his clubs means blackmailing Chief Figgis with dirty pictures of his strung-out little girl. Once she gets clean, she becomes a church leader who campaigns against the casino Coughlin is building on the expectation that after prohibition ends, gambling, like hooch, will eventually be legalized. Like Cooper, Fanning makes a strong impression in just a handful of scenes, which just underscores how sterile the movie is when she (and he) is not in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Again, it’s a miniseries worth of story packed too tightly to resonate on an emotional level. The overcaffeinated pace also prevents the film from breathing photographically, even though Affleck hired the great cinematographer Robert Richardson, who has shot multiple features for Martin Scorcese, Oliver Stone, and Quentin Tarantino, including last Christmas’s Ultra Panavision 70 Western \u003cem>The Hateful Eight. \u003c/em>That fact, even more than Affleck’s haphazard and intrusive voice-over narration, betrays the yawning gulf between what \u003cem>Live By Night \u003c/em>aims for and what it delivers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Affleck made his debut as a director with 2007’s \u003cem>Gone Baby Gone,\u003c/em> a much-admired adaptation of a Dennis Lehane crime novel. After the success of 2012’s \u003cem>Argo\u003c/em> — which won the Academy Award for best picture without so much as a nomination for Affleck, its director and co-star — he was in a position to choose his projects, but he stuck with the one he’d been eyeing even before \u003cem>Argo\u003c/em> was released: \u003cem>Live By Night,\u003c/em> another Lehane book, this one about a Central Florida bootlegger’s struggles with rival gangsters and the Ku Klux Klan during the late 1920s and early 1930s.\u003c/p>\n\u003cp>But a funny thing happened on the way to the speakeasy: Affleck became a movie star again. He played a murder suspect in \u003cem>Gone Girl\u003c/em>, a critical and commercial hit, and signed a multi-picture deal as the latest Batman.\u003cem> Live by Night \u003c/em>was repeatedly back-burnered.\u003c/p>\n\u003cp>Now that it’s finally here, the finished film betrays its writer, producer, director, and star’s divided attention. The picture is handsome and ambitious but maddeningly unfocused. It aspires to be a grand meditation on American corruption in the vein of \u003cem>Once Upon a Time in America\u003c/em> or \u003cem>There Will Be Blood. \u003c/em>But in the end, it’s just a slightly better-than-mediocre genre picture, one literally dressed up in fancy clothes. (Affleck’s dozens of pinstripe suits and fedoras must have taken a substantial bite out of its $65 million budget.)\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/ClcQUlXcCKw'\n title='//www.youtube.com/embed/ClcQUlXcCKw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the problem is Affleck’s screenplay, which tries to preserve more of Lehane’s 400-page book (itself the middle installment in a trilogy) than the film’s 128-minute run time can handle. The first act, which establishes Affleck’s Joe Coughlin as World War I vet-turned-hoodlum in Prohibition-era Boston, is particularly bloated. Coughlin is in love with a mobster’s mistress (Sienna Miller), and after a botched heist and a betrayal by his moll, he finds himself beaten and about to be murdered. His police-captain father (Brendan Gleeson, a pleasure to watch no matter how small the role) saves his life, and even blackmails a District Attorney to secure leniency for his son’s many crimes. Coughlin serves three years in prison, then finds himself drafted into the service of Italian mob capo (Remo Girone), who sends him to Tampa to clean up his operation illegally importing Cuban rum. Want to know more about how the son of a high-ranking cop became a crook? Me, too. Guess I’ll have to read Lehane’s book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, the movie should’ve eighty-sixed all that preamble and just opened with Coughlin getting off the train in Ybor City, where it finally manages a foothold on some less-trod narrative turf. Affleck has some nice chemistry with Chris Messina, who plays his lieutenant and guide to the shadowy parts of the Sunshine State, and his relationship with Chris Cooper — as Irving Figgis, a pragmatic lawman who’s willing to turn a blind eye to crimes of vice if the crooks keep violence to a minimum — is the picture’s most intriguing. Figgis has a teenage daughter, Loretta (Elle Fanning), who’s off to be a star in Hollywood. Of all the story’s shaggy turns, that Chief Figgis has given his blessing to this plan is the hardest to swallow.\u003c/p>\n\u003cp>Coughlin is a Irish Catholic working for Italians, romantically involved with a Cuban woman (Zoe Saldana), and running speakeasies that cater to black people. Any one of those would be reason enough to rile the KKK. Stopping a local Klansman from bombing and shooting up his clubs means blackmailing Chief Figgis with dirty pictures of his strung-out little girl. Once she gets clean, she becomes a church leader who campaigns against the casino Coughlin is building on the expectation that after prohibition ends, gambling, like hooch, will eventually be legalized. Like Cooper, Fanning makes a strong impression in just a handful of scenes, which just underscores how sterile the movie is when she (and he) is not in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Again, it’s a miniseries worth of story packed too tightly to resonate on an emotional level. The overcaffeinated pace also prevents the film from breathing photographically, even though Affleck hired the great cinematographer Robert Richardson, who has shot multiple features for Martin Scorcese, Oliver Stone, and Quentin Tarantino, including last Christmas’s Ultra Panavision 70 Western \u003cem>The Hateful Eight. \u003c/em>That fact, even more than Affleck’s haphazard and intrusive voice-over narration, betrays the yawning gulf between what \u003cem>Live By Night \u003c/em>aims for and what it delivers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Polished Pulp of Paul Verhoeven at the Roxie",
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"content": "\u003cp>The Dutch director Paul Verhoeven is a practiced provocateur, that’s certain. The perennial question, though, is whether he’s a purveyor of glossy exploitation films or a sly social satirist. His button-pushing French-language hit, \u003cem>Elle\u003c/em>, lends itself to both readings, even if (like me) you credit the film as a study of a woman of a certain age (a cruelly kind Isabelle Huppert) grappling with her evolving — though not waning — sexual power.\u003c/p>\n\u003cp>This is an excellent time to revisit and reconsider Verhoeven’s oeuvre, as it’s likely that enormous pressure will be brought to bear in the coming weeks, months and years against outspoken, over-the-top cultural statements. \u003c/p>\n\u003cfigure id=\"attachment_12600355\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BasicInstinct.png\" alt=\"Still from 'Basic Instinct.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12600355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-520x293.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Basic Instinct.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that may or may not have been the motivation for Midnites for Maniacs impresario Jesse Hawthorne Ficks to compile \u003ca href=\"http://www.midnitesformaniacs.com\" target=\"_blank\" rel=\"noopener\">A Genuine Tribute to the Films of Paul Verhoeven\u003c/a>, screening at the \u003ca href=\"http://www.roxie.com/genuine-tribute-paul-verhoeven-weekend/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Friday through Sunday, Jan. 13–15, I do know that Ficks is a master of discerning and interpreting the underlying social commentary in broad mainstream movies. \u003c/p>\n\u003cfigure id=\"attachment_12600356\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Showgirls.png\" alt=\"Still from 'Showgirls.'\" width=\"1200\" height=\"674\" class=\"size-full wp-image-12600356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-520x292.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Showgirls.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there’s plenty to unpack in Friday’s double bill of \u003cem>Total Recall\u003c/em> and \u003cem>Basic Instinct\u003c/em> (which provoked protests both while it was shooting in San Francisco in 1991 and after it opened), Saturday’s triple feature of \u003cem>Robocop\u003c/em>, \u003cem>Showgirls\u003c/em> and a surprise early Verhoeven title and Sunday’s pairing of \u003cem>Spetters\u003c/em> (ditto, 1980) and \u003cem>Starship Troopers\u003c/em>.\u003c/p>\n\u003cp>Verhoeven’s movies combine bravado and bravery in ways that can be annoying as well as exhilarating, but they’re never boring. Let’s just call him a thinking person’s pulp filmmaker, and leave it at that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Dutch director Paul Verhoeven is a practiced provocateur, that’s certain. The perennial question, though, is whether he’s a purveyor of glossy exploitation films or a sly social satirist. His button-pushing French-language hit, \u003cem>Elle\u003c/em>, lends itself to both readings, even if (like me) you credit the film as a study of a woman of a certain age (a cruelly kind Isabelle Huppert) grappling with her evolving — though not waning — sexual power.\u003c/p>\n\u003cp>This is an excellent time to revisit and reconsider Verhoeven’s oeuvre, as it’s likely that enormous pressure will be brought to bear in the coming weeks, months and years against outspoken, over-the-top cultural statements. \u003c/p>\n\u003cfigure id=\"attachment_12600355\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BasicInstinct.png\" alt=\"Still from 'Basic Instinct.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12600355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-520x293.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Basic Instinct.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that may or may not have been the motivation for Midnites for Maniacs impresario Jesse Hawthorne Ficks to compile \u003ca href=\"http://www.midnitesformaniacs.com\" target=\"_blank\" rel=\"noopener\">A Genuine Tribute to the Films of Paul Verhoeven\u003c/a>, screening at the \u003ca href=\"http://www.roxie.com/genuine-tribute-paul-verhoeven-weekend/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Friday through Sunday, Jan. 13–15, I do know that Ficks is a master of discerning and interpreting the underlying social commentary in broad mainstream movies. \u003c/p>\n\u003cfigure id=\"attachment_12600356\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Showgirls.png\" alt=\"Still from 'Showgirls.'\" width=\"1200\" height=\"674\" class=\"size-full wp-image-12600356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-520x292.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Showgirls.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there’s plenty to unpack in Friday’s double bill of \u003cem>Total Recall\u003c/em> and \u003cem>Basic Instinct\u003c/em> (which provoked protests both while it was shooting in San Francisco in 1991 and after it opened), Saturday’s triple feature of \u003cem>Robocop\u003c/em>, \u003cem>Showgirls\u003c/em> and a surprise early Verhoeven title and Sunday’s pairing of \u003cem>Spetters\u003c/em> (ditto, 1980) and \u003cem>Starship Troopers\u003c/em>.\u003c/p>\n\u003cp>Verhoeven’s movies combine bravado and bravery in ways that can be annoying as well as exhilarating, but they’re never boring. Let’s just call him a thinking person’s pulp filmmaker, and leave it at that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sex And Death, Shot Through A Colorful Lens: Almodovar's 'Julieta'",
"headTitle": "Sex And Death, Shot Through A Colorful Lens: Almodovar’s ‘Julieta’ | KQED",
"content": "\u003cp>One way or another, every Pedro Almodovar film is all about his mothers, real or imagined. His latest, \u003cem>Julieta\u003c/em>, marks a return to form for all who love to take a bath in his crimson maternal melodramas. Still, it’s a quieter, more inward film, less inclined to broad winks at the audience than, say, \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>, \u003cem>Talk to Her\u003c/em>, or even \u003cem>All About My Mother\u003c/em>. The mood is intense but consistently somber and introspective, perhaps because \u003cem>Julieta\u003c/em> was inspired by three stories from \u003cem>Runaway\u003c/em>, a collection by the great Canadian writer Alice Munro.\u003c/p>\n\u003cp>Munro and Almodovar make an odd couple on paper, but the Spanish director draws out a staple of Munro’s writing that’s often overlooked in her measured prose and provincial landscapes: She routinely springs horror and violence on the stymied women who wriggle under her microscope. Munro may occasionally even be too much for Almodovar — for him to take a pass on replicating a burning body in Munro’s masterful key story, \u003cem>Silence\u003c/em>, must count either as unwonted self-restraint or a mischievous shot across the bows of his own excess.\u003c/p>\n\u003cp>https://youtu.be/yoi4dbpqZmg\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em>‘s dramatic trigger — the sudden, apparently willful disappearance of a hitherto dutiful daughter — is enough to strike terror in the heart of any parent. We meet Julieta (Emma Suarez), a middle-aged Madrid widow who, after years spent alternating between rage and mourning over the disappearance of her beloved daughter Antia (played as a child by Priscilla Delgado and a young adult by Blanca Pares) from a remote spiritual retreat, is about to start a new life with her supportive lover (Dario Grandinetti). A chance meeting with her daughter’s former best friend Beatriz (Michelle Jenner), who brings news that Antia now lives not far away, is enough for Julieta to put her future on hold. Returning alone to the apartment building where mother and daughter once lived, she relives a traumatic past in a self-incriminating journal addressed to the absent Antia.\u003c/p>\n\u003cp>The journal carries us back to a 1980s nocturnal train journey that nods vigorously to Hitchcock and proves fateful for young Julieta (Adriana Ugarte), who’s fetchingly clad in a blinding blue mini-skirt and a blond shag that sets off her alluring dark eyes. Carnal interchange ensues with a similarly mop-headed stranger (Daniel Grao), followed by a tragic death at Julieta’s new home overlooking a roiling ocean. Are sex and death connected? All I can confirm is the flared-nostril appearance of a prototypical Mrs. Danvers-esque housekeeper played by longtime Almodovar collaborator Rossy de Palma. Then again, she may be a red herring, along with Julieta’s sultry friend Ava (Inma Cuesta), a sculptor of erotic male figures who dials up the sensual temperature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em> is entirely self-sufficient; you don’t have to have read Munro to get the picture, or to revel in the movie’s brilliant colors and full-heartedly florid storytelling. But for those who love both Munro and Almodovar, there’s meat here in the relative pleasures of reading and watching. Munro writes stark prose in blues and greys; Almodovar pumps up the volume with breathy dialogue, bathing his beleaguered women in brilliant vermilions and electric blues. For Munro, the internal drama is paramount; her subject is the sustained terror of living with uncertainty. She’s a lower-case Calvinist, if you like, to Almodovar’s upper-case Catholic. His women are always onstage even in their thoughts, and always players in a Greek tragedy, always beset by a crippling guilt that spreads from one woman to the next, each mulling her failures as a woman, a mother, a friend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In Munro’s \u003cem>Silence\u003c/em>, Juliet is a television interviewer famed for her insight into character, yet unable to parse her own or her daughter’s psyche. Julieta is a teacher of classics who’s thoroughly versed in Greek tragedy, yet fails to comprehend her own drama. Munro revels in the opacity of cause and consequence; Almodovar doffs his cap to uncertainty while repackaging it to hint at closure. To the end, Julieta seeks in vain the clarity of explanation, and Almodovar, a kindlier, more sentimental god than Munro when it comes to his beloved women, bestows on her — and on us — an eleventh-hour gift that’s almost as good.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One way or another, every Pedro Almodovar film is all about his mothers, real or imagined. His latest, \u003cem>Julieta\u003c/em>, marks a return to form for all who love to take a bath in his crimson maternal melodramas. Still, it’s a quieter, more inward film, less inclined to broad winks at the audience than, say, \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>, \u003cem>Talk to Her\u003c/em>, or even \u003cem>All About My Mother\u003c/em>. The mood is intense but consistently somber and introspective, perhaps because \u003cem>Julieta\u003c/em> was inspired by three stories from \u003cem>Runaway\u003c/em>, a collection by the great Canadian writer Alice Munro.\u003c/p>\n\u003cp>Munro and Almodovar make an odd couple on paper, but the Spanish director draws out a staple of Munro’s writing that’s often overlooked in her measured prose and provincial landscapes: She routinely springs horror and violence on the stymied women who wriggle under her microscope. Munro may occasionally even be too much for Almodovar — for him to take a pass on replicating a burning body in Munro’s masterful key story, \u003cem>Silence\u003c/em>, must count either as unwonted self-restraint or a mischievous shot across the bows of his own excess.\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/yoi4dbpqZmg'\n title='//www.youtube.com/embed/yoi4dbpqZmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Julieta\u003c/em>‘s dramatic trigger — the sudden, apparently willful disappearance of a hitherto dutiful daughter — is enough to strike terror in the heart of any parent. We meet Julieta (Emma Suarez), a middle-aged Madrid widow who, after years spent alternating between rage and mourning over the disappearance of her beloved daughter Antia (played as a child by Priscilla Delgado and a young adult by Blanca Pares) from a remote spiritual retreat, is about to start a new life with her supportive lover (Dario Grandinetti). A chance meeting with her daughter’s former best friend Beatriz (Michelle Jenner), who brings news that Antia now lives not far away, is enough for Julieta to put her future on hold. Returning alone to the apartment building where mother and daughter once lived, she relives a traumatic past in a self-incriminating journal addressed to the absent Antia.\u003c/p>\n\u003cp>The journal carries us back to a 1980s nocturnal train journey that nods vigorously to Hitchcock and proves fateful for young Julieta (Adriana Ugarte), who’s fetchingly clad in a blinding blue mini-skirt and a blond shag that sets off her alluring dark eyes. Carnal interchange ensues with a similarly mop-headed stranger (Daniel Grao), followed by a tragic death at Julieta’s new home overlooking a roiling ocean. Are sex and death connected? All I can confirm is the flared-nostril appearance of a prototypical Mrs. Danvers-esque housekeeper played by longtime Almodovar collaborator Rossy de Palma. Then again, she may be a red herring, along with Julieta’s sultry friend Ava (Inma Cuesta), a sculptor of erotic male figures who dials up the sensual temperature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em> is entirely self-sufficient; you don’t have to have read Munro to get the picture, or to revel in the movie’s brilliant colors and full-heartedly florid storytelling. But for those who love both Munro and Almodovar, there’s meat here in the relative pleasures of reading and watching. Munro writes stark prose in blues and greys; Almodovar pumps up the volume with breathy dialogue, bathing his beleaguered women in brilliant vermilions and electric blues. For Munro, the internal drama is paramount; her subject is the sustained terror of living with uncertainty. She’s a lower-case Calvinist, if you like, to Almodovar’s upper-case Catholic. His women are always onstage even in their thoughts, and always players in a Greek tragedy, always beset by a crippling guilt that spreads from one woman to the next, each mulling her failures as a woman, a mother, a friend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In Munro’s \u003cem>Silence\u003c/em>, Juliet is a television interviewer famed for her insight into character, yet unable to parse her own or her daughter’s psyche. Julieta is a teacher of classics who’s thoroughly versed in Greek tragedy, yet fails to comprehend her own drama. Munro revels in the opacity of cause and consequence; Almodovar doffs his cap to uncertainty while repackaging it to hint at closure. To the end, Julieta seeks in vain the clarity of explanation, and Almodovar, a kindlier, more sentimental god than Munro when it comes to his beloved women, bestows on her — and on us — an eleventh-hour gift that’s almost as good.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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