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"content": "\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host Sarah Hotchkiss and I have picked our favorite shows at local museums (and one gallery) for the holiday season. We focused on places you can go with the family, or as a means of escape from them. The exhibitions share one quality: a sense of humor, which is a trait we find too rare in the art world.\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–Dec. 10:\u003c/strong> Both Sarah and I love the work of the late painter Martin Wong, which can be seen in the show \u003cem>Martin Wong: Human Instamatic \u003c/em>at the Berkeley Art Museum. We love the way he exposes his obsessions (with brick and streetscapes), for the tender portraits of his lovers, and for the fact that he once gave away canvases meant for a big gallery show that were worth thousands of dollars. \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Dec. 9:\u003c/strong> \u003cem>Martin Wong — California Years\u003c/em>. A small show, at the Anglim Gilbert Gallery, of Wong’s early work before he moved to New York City. A worthy supplement to the Berkeley Art Museum’s exhibit. \u003ca href=\"http://anglimgilbertgallery.com/martin-wong-california-years/#ms-4915\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Jan. 28, 2018: \u003c/strong>\u003cem>Jewish Folktales Retold: Artist as Maggid\u003c/em> at The Contemporary Jewish Museum is remarkable in so many ways. From the fresh takes on ancient stories that you can listen to online to the diversity of the artwork, which ranges from a science fiction portal to photos set in the Garden of Eden to a video of a goat (is that you Zlateh?) wandering through San Francisco. \u003ca href=\"https://www.thecjm.org/exhibitions/68\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13814122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg\" alt=\"Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Reconstruction-C-of-a-Crouching-Lion-from-Loutraki-520x329.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reconstruction of a Crouching Lion from the show Gods in Color at the Legion of Honor in San Francisco \u003ccite>(Photo: Courtesy of Fine Arts Museum of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 28, 2017–Jan. 7, 2018: \u003c/strong>\u003cem>Gods in Color: Polychromy in the Ancient World \u003c/em>at the Legion of Honor Museum shows how Greek and Roman statues weren’t just plain marble. The statues were brightly painted in ancient times, upending a notion of classical beauty that has been defined by white statues that never actually were… white. \u003ca href=\"https://legionofhonor.famsf.org/exhibitions/gods-color-polychromy-ancient-world\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25–Jan. 14, 2018:\u003c/strong> \u003cem>This is Not a Selfie\u003c/em> at the San Jose Museum of Art. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/13/a-museum-show-that-welcomes-selfies/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 7, 2018:\u003c/strong> Nina Katchadourian’s show \u003cem>Curiouser\u003c/em> at the Cantor Museum of Art at Stanford. \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/when-an-artist-chuckles-the-audience-follows-in-nina-katchadourians-curiouser/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809195\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg\" alt=\"Nina Katchadourian, 'Lavatory Self-Portrait in the Flemish Style #12.' From 'Seat Assignment,' 2010–ongoing.\" width=\"640\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Katchadourian_Flemish12_640-520x616.jpg 520w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Lavatory Self-Portrait in the Flemish Style #12.’ From ‘Seat Assignment,’ 2010–ongoing. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "In Silicon Valley, An Ever-Growing Market for South Asian Art",
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"content": "\u003cp>\u003ci>\u003c/i>On a recent Saturday morning, a handful of people milled about a spacious private home in Saratoga, looking at paintings leaning up against the walls and hitched up on easels. The home’s owner, clinical psychologist Anu Singh, has become a collector of contemporary South Asian art in recent years. With the help of her favorite gallerist in Mumbai, \u003ca href=\"http://ashishbalramnagpal.com/ABN_web/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashish Nagpal,\u003c/a> she now shares her passion with others by acting as an amateur gallerist.\u003c/p>\n\u003cp>“India has really changed,” Singh says. “The culture is changing. The people are are changing\u003cb>,\u003c/b> and the art is representative of that change, but people here in Northern California don’t have that concept.”\u003c/p>\n\u003cp>She has a point.\u003c/p>\n\u003cp>It’s unusual to see contemporary South Asian art in the Bay Area’s museums and galleries. Most venues focus on the ancient, classical forms of Indian art, like temple statutes and 16th century miniature paintings.\u003c/p>\n\u003cp>But there is a small but buzzing market for South Asian art by living artists in the Bay Area, thanks to the population of wealthy individuals living in Silicon Valley with roots in the Indian subcontinent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Bay Area resident for 30 years, Singh is fairly new to art collecting. But she can talk at length about the art on show at her house. She points out several works by the abstract expressionist Chintan Upadyay of Rajasthan. There’s a painting titled “Mutant” that’s two things at once: two men joined at the side, and also a video game console. The work sold for $65,000.\u003c/p>\n\u003cfigure id=\"attachment_13809091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg\" alt='\"Mutant,\" an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology.' width=\"800\" height=\"1195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1020x1524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1180x1763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mutant,” an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology. \u003ccite>(Photo: Courtesy of Ashish Nagpal Balram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see that?” Singh says. “Chinthan talks a lot about we are not using technology so much as technology is starting to use us.”\u003c/p>\n\u003cp>The main customers at Singh’s art-viewing get togethers are her friends, like first time art buyer Anju Kalkunte. She spent $25,000 on a work by KK Raghava (also known as Raghava KK.) The artist splits his time between New York and Bangalore. Kalkunte fell in love with Raghava’s painting of Ganesha, the blue Hindu elephant-headed god, dancing in a sea of watery green.\u003c/p>\n\u003cp>“I looked at it for a few days and I said ‘This is mine,'” Kalkunte says. “And I’m very happy I bought it.”\u003c/p>\n\u003ch2>Cultivating A Bigger Market\u003c/h2>\n\u003cp>It’s not just the newbie end of the market for contemporary South Asian art that’s attracting attention. Things are developing at the other end of the spectrum too.\u003c/p>\n\u003cp>“Honestly, we do business on a global level,” says Deepanjana Klein, international head of \u003ca href=\"http://www.christies.com/departments/asian-contemporary-and-20th-century-chinese-art-92-1.aspx\">South Asian Modern and Contemporary Art\u003c/a> at Christie’s auction house. Klein says Christie’s has sold roughly $100 million worth of contemporary South Asian art over the last five years. Klein says that number does reflect a recent uptick in interest, but not necessarily from the Bay Area. Most of the interest comes from the East coast, Klein says.\u003c/p>\n\u003cp>“The Bay Area has always been interesting to us, because there are a lot of South Asians who are doing very well there,” Klein says. “We’ve done a lot of events there in order to cultivate collectors and potential collectors. However, we haven’t seen much action in that region,” Klein says.\u003c/p>\n\u003cfigure id=\"attachment_13809094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg\" alt='\" Induced Epidemic,\" an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur .' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“ Induced Epidemic,” an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur . \u003ccite>(Photo: Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, Sotheby’s reports California is home to its fastest growing market for contemporary South Asian art, thanks in part to museums like the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>.\u003c/p>\n\u003cp>The Bay Area is also home to some important patrons of new work like \u003ca href=\"https://www.youtube.com/watch?v=RWoHuOOmZDE\" target=\"_blank\" rel=\"noopener noreferrer\">Dipti Mathur\u003c/a>, who’s lived in the area for 20 years. She’s on the board at the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>Mathur says there have been a few major exhibitions of contemporary South Asian art, but the list is short, including just a few standouts like \u003ca href=\"http://sjmusart.org/roots-air-branches-below-modern-and-contemporary-art-india/home/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Roots in the Air, Branches Below\u003c/a> at the San Jose Museum of Art in 2011.\u003c/p>\n\u003cp>“It’s not that it has not been done before, but not with any frequency and not at any scale,” Mathur says. She adds that the tech crowd, with all its money, has been slow to the collecting game, even as technology is making it easier than ever for people to fill their homes with cutting-edge work from all over the world.\u003c/p>\n\u003cp>“A lot of Indian artists are represented by international galleries,” Mathur says. But in the Bay Area, collecting has been slow. “And therefore support of the museums has also been slow,” Mathur says.\u003c/p>\n\u003cfigure id=\"attachment_13809096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg\" alt='\"Event Horizon (the hour of the day of the month of the season),\" a series of photographic prints by Jitish Kallat , featured in the exhibition, \"Postdate: Photography and Inherited History in India\" at the San Jose Museum of Art in 2015.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Event Horizon (the hour of the day of the month of the season),” a series of photographic prints by Jitish Kallat , featured in the exhibition, “Postdate: Photography and Inherited History in India” at the San Jose Museum of Art in 2015. \u003ccite>(Photo: Courtesy of San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something of a feedback loop between museums and collectors. Museums educate prospective collectors, who then may develop an interest and, eventually, a collection. But many museums don’t have a huge acquisition budget for new art, especially art their curators and patrons may be unfamiliar with.\u003c/p>\n\u003cp>Mathur says it’s up to Bay Area people who love new South Asian art, and have the cash to spend on it, to spend it, and then donate some of that art to local museums.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Watch a TED talk by artist KK Rhagava to get a sense of his artistic development, as well as how he built a market for his art in the U.S.:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=I_4IK8CiLg8]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003c/i>On a recent Saturday morning, a handful of people milled about a spacious private home in Saratoga, looking at paintings leaning up against the walls and hitched up on easels. The home’s owner, clinical psychologist Anu Singh, has become a collector of contemporary South Asian art in recent years. With the help of her favorite gallerist in Mumbai, \u003ca href=\"http://ashishbalramnagpal.com/ABN_web/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashish Nagpal,\u003c/a> she now shares her passion with others by acting as an amateur gallerist.\u003c/p>\n\u003cp>“India has really changed,” Singh says. “The culture is changing. The people are are changing\u003cb>,\u003c/b> and the art is representative of that change, but people here in Northern California don’t have that concept.”\u003c/p>\n\u003cp>She has a point.\u003c/p>\n\u003cp>It’s unusual to see contemporary South Asian art in the Bay Area’s museums and galleries. Most venues focus on the ancient, classical forms of Indian art, like temple statutes and 16th century miniature paintings.\u003c/p>\n\u003cp>But there is a small but buzzing market for South Asian art by living artists in the Bay Area, thanks to the population of wealthy individuals living in Silicon Valley with roots in the Indian subcontinent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Bay Area resident for 30 years, Singh is fairly new to art collecting. But she can talk at length about the art on show at her house. She points out several works by the abstract expressionist Chintan Upadyay of Rajasthan. There’s a painting titled “Mutant” that’s two things at once: two men joined at the side, and also a video game console. The work sold for $65,000.\u003c/p>\n\u003cfigure id=\"attachment_13809091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg\" alt='\"Mutant,\" an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology.' width=\"800\" height=\"1195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-800x1195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1020x1524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-1180x1763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-375x560.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26632__73T9942-qut-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mutant,” an oil and acrylic painting by Chintan Upadhyay, marries references to classic Indian art with modern abstract expressionism to address the alienating impact of technology. \u003ccite>(Photo: Courtesy of Ashish Nagpal Balram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see that?” Singh says. “Chinthan talks a lot about we are not using technology so much as technology is starting to use us.”\u003c/p>\n\u003cp>The main customers at Singh’s art-viewing get togethers are her friends, like first time art buyer Anju Kalkunte. She spent $25,000 on a work by KK Raghava (also known as Raghava KK.) The artist splits his time between New York and Bangalore. Kalkunte fell in love with Raghava’s painting of Ganesha, the blue Hindu elephant-headed god, dancing in a sea of watery green.\u003c/p>\n\u003cp>“I looked at it for a few days and I said ‘This is mine,'” Kalkunte says. “And I’m very happy I bought it.”\u003c/p>\n\u003ch2>Cultivating A Bigger Market\u003c/h2>\n\u003cp>It’s not just the newbie end of the market for contemporary South Asian art that’s attracting attention. Things are developing at the other end of the spectrum too.\u003c/p>\n\u003cp>“Honestly, we do business on a global level,” says Deepanjana Klein, international head of \u003ca href=\"http://www.christies.com/departments/asian-contemporary-and-20th-century-chinese-art-92-1.aspx\">South Asian Modern and Contemporary Art\u003c/a> at Christie’s auction house. Klein says Christie’s has sold roughly $100 million worth of contemporary South Asian art over the last five years. Klein says that number does reflect a recent uptick in interest, but not necessarily from the Bay Area. Most of the interest comes from the East coast, Klein says.\u003c/p>\n\u003cp>“The Bay Area has always been interesting to us, because there are a lot of South Asians who are doing very well there,” Klein says. “We’ve done a lot of events there in order to cultivate collectors and potential collectors. However, we haven’t seen much action in that region,” Klein says.\u003c/p>\n\u003cfigure id=\"attachment_13809094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg\" alt='\" Induced Epidemic,\" an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur .' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26633_Bhardwaj-higher-res-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“ Induced Epidemic,” an oil and acrylic painting by Ashutosh Bhardwaj, donated to the San Jose Museum of Art by Dipti and Rakesh Mathur . \u003ccite>(Photo: Courtesy of the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, Sotheby’s reports California is home to its fastest growing market for contemporary South Asian art, thanks in part to museums like the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>.\u003c/p>\n\u003cp>The Bay Area is also home to some important patrons of new work like \u003ca href=\"https://www.youtube.com/watch?v=RWoHuOOmZDE\" target=\"_blank\" rel=\"noopener noreferrer\">Dipti Mathur\u003c/a>, who’s lived in the area for 20 years. She’s on the board at the \u003ca href=\"http://sjmusart.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>Mathur says there have been a few major exhibitions of contemporary South Asian art, but the list is short, including just a few standouts like \u003ca href=\"http://sjmusart.org/roots-air-branches-below-modern-and-contemporary-art-india/home/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Roots in the Air, Branches Below\u003c/a> at the San Jose Museum of Art in 2011.\u003c/p>\n\u003cp>“It’s not that it has not been done before, but not with any frequency and not at any scale,” Mathur says. She adds that the tech crowd, with all its money, has been slow to the collecting game, even as technology is making it easier than ever for people to fill their homes with cutting-edge work from all over the world.\u003c/p>\n\u003cp>“A lot of Indian artists are represented by international galleries,” Mathur says. But in the Bay Area, collecting has been slow. “And therefore support of the museums has also been slow,” Mathur says.\u003c/p>\n\u003cfigure id=\"attachment_13809096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg\" alt='\"Event Horizon (the hour of the day of the month of the season),\" a series of photographic prints by Jitish Kallat , featured in the exhibition, \"Postdate: Photography and Inherited History in India\" at the San Jose Museum of Art in 2015.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26634_JitishKallatEventHorizon-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Event Horizon (the hour of the day of the month of the season),” a series of photographic prints by Jitish Kallat , featured in the exhibition, “Postdate: Photography and Inherited History in India” at the San Jose Museum of Art in 2015. \u003ccite>(Photo: Courtesy of San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something of a feedback loop between museums and collectors. Museums educate prospective collectors, who then may develop an interest and, eventually, a collection. But many museums don’t have a huge acquisition budget for new art, especially art their curators and patrons may be unfamiliar with.\u003c/p>\n\u003cp>Mathur says it’s up to Bay Area people who love new South Asian art, and have the cash to spend on it, to spend it, and then donate some of that art to local museums.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Watch a TED talk by artist KK Rhagava to get a sense of his artistic development, as well as how he built a market for his art in the U.S.:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_4IK8CiLg8'\n title='//www.youtube.com/embed/I_4IK8CiLg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 16: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc8\" target=\"_blank\" rel=\"noopener noreferrer\">A hip-hop oratorio for challenging times from Ensemble Mik Nawooj\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21:\u003c/strong> \u003ca href=\"https://www.loscenzontles.com/tourdates/one-lobo-one-night-david-hidalgo-w-los-cenzontles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Cenzontles play a show on their home stage in San Pablo, with guest David Hidalgo of Los Lobos\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26: \u003c/strong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/sam-amidon/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Amidon brings his serious folk songs and deadpan humor to Cafe du Nord\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The\u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> San Jose Museum of Art\u003c/a> (SJMA) announced Monday that Susan Krane will step down as executive director on Jan. 31.\u003c/p>\n\u003cp>“The museum is entering into a new phase of its new strategic plan,” says SJMA marketing and communications director Sherrill Ingalls. “It was a mutual decision between Susan and the board. And it seemed like the right time.”\u003c/p>\n\u003cp>Krane joined the museum in 2008, as the country was spiraling into economic depression. “During a challenging time for arts institutions, her fiscal discipline helped keep the museum financially sound, while—even in lean times—enabling the museum to creatively expand its public programming, grow the permanent collection in both size and stature, and present ambitious exhibitions that reflect the diversity, intelligence, and excitement of the Silicon Valley community,” Hildy Shandell, president of SJMA’s board of trustees, is quoted as saying in the official announcement of Krane’s departure.\u003c/p>\n\u003cp>Under Krane’s leadership, SJMA co-organized nationally touring exhibitions including the first museum exhibition devoted to the work of \u003ca href=\"http://sjmusart.org/press-release/san-jose-museum-art-present-first-museum-survey-devoted-work-leo-villareal-beginning\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Villareal \u003c/a>in 2010; \u003ca href=\"http://sjmusart.org/exhibition/border-cantos\" target=\"_blank\" rel=\"noopener noreferrer\"> Border Cantos: Richard Misrach | Guillermo Galindo \u003c/a>in 2016; and \u003ca href=\"http://sjmusart.org/exhibition/new-stories-edge-asia-tabaimo-her-room\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tabaimo: Her Room, \u003c/em>\u003c/a>also in 2016.\u003c/p>\n\u003cp>“It’s been an incredible eight-plus years at the museum, from the growth and great diversification of our exhibition program to amazing new creative partnerships and truly innovative initiatives with the community,” Krane said in an email interview. “I am very eager for a change and look forward to the flexibility to pursue new endeavors in arts engagement, particularly projects that further civic participation, as well as to devote time to several research and writing projects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Krane has curated several exhibitions herself while at the SJMA, including one \u003ca href=\"http://sjmusart.org/exhibition/your-mind-moment-art-and-practice-attention\" target=\"_blank\" rel=\"noopener noreferrer\">Your Mind, This Moment\u003c/a>, opening Feb. 17.\u003c/p>\n\u003cp>Susan Sayre Batton, deputy director of curatorial affairs, will serve as interim director while the board conducts a nationwide search for a new executive director. That said, a number of people at the museum and in the surrounding community suggest Batton might be a solid permanent choice.\u003c/p>\n\u003cp>“Susan has been a respected colleague and a strong advocate for the arts in San Jose,” says Cathy Kimball, who heads the San Jose Institute for Contemporary Arts and used to work at SJMA. “Sayre Batton has been a great addition to the Museum’s team. During the past year, we’ve become close colleagues and I feel confident that the museum is in good hands.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> San Jose Museum of Art\u003c/a> (SJMA) announced Monday that Susan Krane will step down as executive director on Jan. 31.\u003c/p>\n\u003cp>“The museum is entering into a new phase of its new strategic plan,” says SJMA marketing and communications director Sherrill Ingalls. “It was a mutual decision between Susan and the board. And it seemed like the right time.”\u003c/p>\n\u003cp>Krane joined the museum in 2008, as the country was spiraling into economic depression. “During a challenging time for arts institutions, her fiscal discipline helped keep the museum financially sound, while—even in lean times—enabling the museum to creatively expand its public programming, grow the permanent collection in both size and stature, and present ambitious exhibitions that reflect the diversity, intelligence, and excitement of the Silicon Valley community,” Hildy Shandell, president of SJMA’s board of trustees, is quoted as saying in the official announcement of Krane’s departure.\u003c/p>\n\u003cp>Under Krane’s leadership, SJMA co-organized nationally touring exhibitions including the first museum exhibition devoted to the work of \u003ca href=\"http://sjmusart.org/press-release/san-jose-museum-art-present-first-museum-survey-devoted-work-leo-villareal-beginning\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Villareal \u003c/a>in 2010; \u003ca href=\"http://sjmusart.org/exhibition/border-cantos\" target=\"_blank\" rel=\"noopener noreferrer\"> Border Cantos: Richard Misrach | Guillermo Galindo \u003c/a>in 2016; and \u003ca href=\"http://sjmusart.org/exhibition/new-stories-edge-asia-tabaimo-her-room\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tabaimo: Her Room, \u003c/em>\u003c/a>also in 2016.\u003c/p>\n\u003cp>“It’s been an incredible eight-plus years at the museum, from the growth and great diversification of our exhibition program to amazing new creative partnerships and truly innovative initiatives with the community,” Krane said in an email interview. “I am very eager for a change and look forward to the flexibility to pursue new endeavors in arts engagement, particularly projects that further civic participation, as well as to devote time to several research and writing projects.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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 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": "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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"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": {
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}
