Neyat Yohannes is a writer. Mostly of tardy slips for Oakland school kids. Follow her at @rhymeswithcat.
By Neyat Yohannes
Surprises Even at the Bathroom Sink in 'Spirited Probabilities'
A Month of All Things Agnès Varda? Yes, Please
At Mills, Local Korean-American Artists Embrace Multiple Identities
Angela Hennessy’s Solo Show Offers Up Hair As Eulogy
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"title": "Surprises Even at the Bathroom Sink in 'Spirited Probabilities'",
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"content": "\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Surprises Even at the Bathroom Sink in 'Spirited Probabilities'",
"datePublished": "2018-03-01T12:00:30-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Month of All Things Agnès Varda? Yes, Please",
"headTitle": "A Month of All Things Agnès Varda? Yes, Please | KQED",
"content": "\u003cp>“I’d say you’ve seen about 88 springtimes,” says famed photographer and muralist JR to Agnès Varda in just one of the many endearing moments in \u003cem>Faces Places\u003c/em>. The film follows Varda — artist, photographer, and of course, patron saint of French New Wave — and JR in an on-the-go documentary that celebrates ordinary people.\u003c/p>\n\u003cp>The two travel through villages producing larger-than-life portraits of the locals they encounter. All the while, the odd couple forms a touching bond of their own. It’s no surprise that the film has opened to ebullient reviews. It uplifts, envelops, and tugs at the heartstrings — all the trappings of what will surely be an enduring classic.\u003c/p>\n\u003cfigure id=\"attachment_13816575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg\" alt=\"Agnès Varda, ‘Faces Places,’ 2017.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Faces Places,’ 2017. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Varda has now seen 89 springtimes. In recognition of her life’s work, she was awarded with an honorary Oscar at the Governors’ Ball this November — the first female director to receive such an award. During a particularly emphatic moment in her acceptance speech, she says, “I’ve been loved and praised… because I try to work to get the essence of cinema; finding a different structure for each film.”\u003c/p>\n\u003cp>To expound, she says, “\u003cem>La Pointe Courte\u003c/em> — double-narration. \u003cem>Cléo from 5 to 7\u003c/em> — real-time. \u003cem>Vagabond\u003c/em> — thirteen continuous and uncontinuous traveling shots. \u003cem>Jane B\u003c/em> — each portrait is a puzzle with missing pieces.” Every one of Varda’s films attempts a different cinematic feat, but they all ultimately point towards the same pervading objective: to revere ordinary tensions and revel in the commonplace. She often refers to herself as “the queen of the margins.” Over the course of her 60-year stint as a filmmaker, she has imparted stories suffused with the pleasures and pitfalls of the periphery. Her characters, like herself, are fringe folks; but through her works, she exalts them.\u003c/p>\n\u003cfigure id=\"attachment_13816571\" class=\"wp-caption aligncenter\" style=\"max-width: 2727px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg\" alt=\"Agnès Varda, 'Cléo from 5 to 7,' 1962.\" width=\"2727\" height=\"2011\" class=\"size-full wp-image-13816571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg 2727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1920x1416.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-520x383.jpg 520w\" sizes=\"(max-width: 2727px) 100vw, 2727px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Cléo from 5 to 7,’ 1962. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of her oeuvre exudes Nouvelle Vague, Varda considers California to be a kindred spirit. In 1967, she touched down in Los Angeles alongside her late husband, filmmaker Jacques Demy, unsure of what to expect, but her love affair with the city began at once. Varda’s fondness for the Golden State was quite literally put on display at the Los Angeles County Museum of Art for the 2013 exhibition entitled, \u003cem>\u003ca href=\"http://www.lacma.org/art/exhibition/agn%C3%A8s-varda-californialand\" rel=\"noopener\" target=\"_blank\">Agnès Varda in Californialand\u003c/a>\u003c/em>. The show restored four of her films and commemorated her time spent in California during the late sixties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of those restored films pay homage to the Bay Area. In \u003cem>Uncle Yanco\u003c/em> (1967), Varda tracks down an estranged Greek emigrant relative, her much-older artist cousin (respectfully referred to as her uncle) who cultivated a bohemian life for himself in Sausalito. Then, in the summer of 1968, Varda covers the demonstration against the imprisonment of activist and co-founder of the Black Panther Party, Huey P. Newton. \u003cem>Black Panthers\u003c/em> (also known as \u003cem>Huey\u003c/em>) was shot on location in Oakland and includes interviews with folks like Kathleen Cleaver and even Newton himself. The documentary records a crucial period in the Bay Area’s turbulent political history.\u003c/p>\n\u003cp>And now, on the heels of Varda’s Oscar, the Berkeley Art Museum and Pacific Film Archive hosts an unofficial month-long Agnès Varda retrospective of sorts. As part of \u003cem>The Art of Cinematography\u003c/em>, a series that champions cinema as a visual art form, BAMPFA screens both \u003cem>\u003ca href=\"https://bampfa.org/event/cl%C3%A9o-5-7-5\" target=\"_blank\" rel=\"noopener\">Cléo from 5 to 7\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/la-pointe-courte-4\" target=\"_blank\" rel=\"noopener\">La Pointe Courte\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>In the former, we follow two hours in the life of an anxious and fiercely superstitious young singer. Cléo has reason to believe she is dying of cancer after an ominous doctor’s appointment prompts her to consult a tarot reader. Both meetings leave her feeling dejected. Despite her palpable fears about her unfortunate fate, she spends the afternoon catching glimpses of herself in every available reflective surface, deducing, “As long as I am beautiful, I’m even more alive than the others.”\u003c/p>\n\u003cfigure id=\"attachment_13816573\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg\" alt=\"Agnès Varda, ‘La Pointe Courte,’ 1955.\" width=\"800\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1920x1931.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1180x1187.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-960x966.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1955. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>La Pointe Courte\u003c/em>, Varda’s very first film effort, is the cleaved tale of a reunited couple, inspired by William Faulkner’s \u003cem>The Wild Palms\u003c/em>. The setting — a Mediterranean fishing port plaited with the sun-streaks and shadow-play — is just as much a character as the dysfunctional lovers.\u003c/p>\n\u003cp>As two of her most beloved works, both \u003ci>Cléo\u003c/i> and \u003cem>La Pointe Courte\u003c/em> make for a perfect introduction to the world of Agnès Varda; and for seasoned fans of the French New Wave genre, the screenings are an opportunity for a refresher. BAMPFA also hosts multiple screening of this year’s \u003cem>\u003ca href=\"https://bampfa.org/event/faces-places\" target=\"_blank\" rel=\"noopener\">Faces Places\u003c/a>\u003c/em>, suddenly making December the Bay Area’s designated month for all things Varda. Extra points if you get a Dutch-Boy haircut to better mark this glorious occasion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Faces Places’ screens at the Berkeley Art Museum and Pacific Film Archive on Dec. 8, 13, 17 and 28; ‘Cléo from 5 to 7’ screens Dec. 9 and 27; and ‘La Pointe Courte’ screens on Dec. 17. For tickets and more information, \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Hot on the heels of her honorary Oscar, BAMPFA pays homage to Agnès Varda's 60 years of filmmaking. ",
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"title": "A Month of All Things Agnès Varda? Yes, Please | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’d say you’ve seen about 88 springtimes,” says famed photographer and muralist JR to Agnès Varda in just one of the many endearing moments in \u003cem>Faces Places\u003c/em>. The film follows Varda — artist, photographer, and of course, patron saint of French New Wave — and JR in an on-the-go documentary that celebrates ordinary people.\u003c/p>\n\u003cp>The two travel through villages producing larger-than-life portraits of the locals they encounter. All the while, the odd couple forms a touching bond of their own. It’s no surprise that the film has opened to ebullient reviews. It uplifts, envelops, and tugs at the heartstrings — all the trappings of what will surely be an enduring classic.\u003c/p>\n\u003cfigure id=\"attachment_13816575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg\" alt=\"Agnès Varda, ‘Faces Places,’ 2017.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Faces Places,’ 2017. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Varda has now seen 89 springtimes. In recognition of her life’s work, she was awarded with an honorary Oscar at the Governors’ Ball this November — the first female director to receive such an award. During a particularly emphatic moment in her acceptance speech, she says, “I’ve been loved and praised… because I try to work to get the essence of cinema; finding a different structure for each film.”\u003c/p>\n\u003cp>To expound, she says, “\u003cem>La Pointe Courte\u003c/em> — double-narration. \u003cem>Cléo from 5 to 7\u003c/em> — real-time. \u003cem>Vagabond\u003c/em> — thirteen continuous and uncontinuous traveling shots. \u003cem>Jane B\u003c/em> — each portrait is a puzzle with missing pieces.” Every one of Varda’s films attempts a different cinematic feat, but they all ultimately point towards the same pervading objective: to revere ordinary tensions and revel in the commonplace. She often refers to herself as “the queen of the margins.” Over the course of her 60-year stint as a filmmaker, she has imparted stories suffused with the pleasures and pitfalls of the periphery. Her characters, like herself, are fringe folks; but through her works, she exalts them.\u003c/p>\n\u003cfigure id=\"attachment_13816571\" class=\"wp-caption aligncenter\" style=\"max-width: 2727px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg\" alt=\"Agnès Varda, 'Cléo from 5 to 7,' 1962.\" width=\"2727\" height=\"2011\" class=\"size-full wp-image-13816571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg 2727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1920x1416.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-520x383.jpg 520w\" sizes=\"(max-width: 2727px) 100vw, 2727px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Cléo from 5 to 7,’ 1962. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of her oeuvre exudes Nouvelle Vague, Varda considers California to be a kindred spirit. In 1967, she touched down in Los Angeles alongside her late husband, filmmaker Jacques Demy, unsure of what to expect, but her love affair with the city began at once. Varda’s fondness for the Golden State was quite literally put on display at the Los Angeles County Museum of Art for the 2013 exhibition entitled, \u003cem>\u003ca href=\"http://www.lacma.org/art/exhibition/agn%C3%A8s-varda-californialand\" rel=\"noopener\" target=\"_blank\">Agnès Varda in Californialand\u003c/a>\u003c/em>. The show restored four of her films and commemorated her time spent in California during the late sixties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of those restored films pay homage to the Bay Area. In \u003cem>Uncle Yanco\u003c/em> (1967), Varda tracks down an estranged Greek emigrant relative, her much-older artist cousin (respectfully referred to as her uncle) who cultivated a bohemian life for himself in Sausalito. Then, in the summer of 1968, Varda covers the demonstration against the imprisonment of activist and co-founder of the Black Panther Party, Huey P. Newton. \u003cem>Black Panthers\u003c/em> (also known as \u003cem>Huey\u003c/em>) was shot on location in Oakland and includes interviews with folks like Kathleen Cleaver and even Newton himself. The documentary records a crucial period in the Bay Area’s turbulent political history.\u003c/p>\n\u003cp>And now, on the heels of Varda’s Oscar, the Berkeley Art Museum and Pacific Film Archive hosts an unofficial month-long Agnès Varda retrospective of sorts. As part of \u003cem>The Art of Cinematography\u003c/em>, a series that champions cinema as a visual art form, BAMPFA screens both \u003cem>\u003ca href=\"https://bampfa.org/event/cl%C3%A9o-5-7-5\" target=\"_blank\" rel=\"noopener\">Cléo from 5 to 7\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/la-pointe-courte-4\" target=\"_blank\" rel=\"noopener\">La Pointe Courte\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>In the former, we follow two hours in the life of an anxious and fiercely superstitious young singer. Cléo has reason to believe she is dying of cancer after an ominous doctor’s appointment prompts her to consult a tarot reader. Both meetings leave her feeling dejected. Despite her palpable fears about her unfortunate fate, she spends the afternoon catching glimpses of herself in every available reflective surface, deducing, “As long as I am beautiful, I’m even more alive than the others.”\u003c/p>\n\u003cfigure id=\"attachment_13816573\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg\" alt=\"Agnès Varda, ‘La Pointe Courte,’ 1955.\" width=\"800\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1920x1931.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1180x1187.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-960x966.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1955. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>La Pointe Courte\u003c/em>, Varda’s very first film effort, is the cleaved tale of a reunited couple, inspired by William Faulkner’s \u003cem>The Wild Palms\u003c/em>. The setting — a Mediterranean fishing port plaited with the sun-streaks and shadow-play — is just as much a character as the dysfunctional lovers.\u003c/p>\n\u003cp>As two of her most beloved works, both \u003ci>Cléo\u003c/i> and \u003cem>La Pointe Courte\u003c/em> make for a perfect introduction to the world of Agnès Varda; and for seasoned fans of the French New Wave genre, the screenings are an opportunity for a refresher. BAMPFA also hosts multiple screening of this year’s \u003cem>\u003ca href=\"https://bampfa.org/event/faces-places\" target=\"_blank\" rel=\"noopener\">Faces Places\u003c/a>\u003c/em>, suddenly making December the Bay Area’s designated month for all things Varda. Extra points if you get a Dutch-Boy haircut to better mark this glorious occasion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Faces Places’ screens at the Berkeley Art Museum and Pacific Film Archive on Dec. 8, 13, 17 and 28; ‘Cléo from 5 to 7’ screens Dec. 9 and 27; and ‘La Pointe Courte’ screens on Dec. 17. For tickets and more information, \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Mills, Local Korean-American Artists Embrace Multiple Identities",
"headTitle": "At Mills, Local Korean-American Artists Embrace Multiple Identities | KQED",
"content": "\u003cp>\u003cem>Chinksugi\u003c/em> is a life-size figure made of ceramic, wood, resin, and paint — the title is a play on \u003cem>kintsugi\u003c/em>, the Japanese practice of fixing broken pottery. This technique uses lacquer mixed with gold or silver dust to highlight cracks and embrace the flaws of the piece rather than conceal them. From head to toe, \u003cem>Chinksugi\u003c/em> boasts stereotypical Asian motifs: a Japanese cherry blossom on one of the ankles, a china plate design across the chest.\u003c/p>\n\u003cp>“This work,” says artist Nicholas Oh, “is about how Asian Americans are perceived and generally assumed to be foreigners. My work aims to fight some of these generalizations by embracing stereotypes.”\u003c/p>\n\u003cp>The work Oh refers to was specifically made for \u003cem>\u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">In-Between Places: Korean-American Artists in The Bay Area\u003c/a>\u003c/em>, an exhibition organized by Mills College Art Museum and independently curated by Linda Inson Choy, a contemporary Korean art specialist, with consultation from Hyonjeong Kim Han, associate curator of Korean art at San Francisco’s Asian Art Museum.\u003c/p>\n\u003cfigure id=\"attachment_13815886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg\" alt=\"Jung Ran Bae, 'The Days Like Feathers,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jung Ran Bae, ‘The Days Like Feathers,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are times when someone looks at me and makes a preconceived judgement that I am a foreigner from Asia,” Oh says. “However, in reality, I actually identify with American culture more than my ancestral Korean culture, putting me somewhere in between.”\u003c/p>\n\u003cp>The Bay Area has long been a hub for Korean culture, but the reality of being a Korean-American person means reconciling with the nuances of an ambiguous identity. \u003cem>In-Between Places\u003c/em> — the first exhibition to decidedly acknowledge that Korean-American art is Korean art — showcases a wide variety of media (sculpture, painting, ceramics, video, textiles, performance and installation art) from Bay Area Korean-Americans responding to and reflecting on the multiplicity of their identities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.minjisohn.com/\" target=\"_blank\" rel=\"noopener\">Minji Sohn\u003c/a>, the artist behind \u003cem>Turn Right, Turn Left\u003c/em>, a four-channel video installation that asks visitors to stand on a platform and follow screen prompts, says, “All my life I flew between continents every few months or so, living in-between countries and cultures. This nomad-like experience and in-between-ness have played a major role in shaping my character. It is also a subject of many of my recent investigations and performances.”\u003c/p>\n\u003cfigure id=\"attachment_13815889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg\" alt=\"Minji Sohn, Installation view of 'Turn Right, Turn Left,' 2017.\" width=\"1200\" height=\"785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-520x340.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Minji Sohn, Installation view of ‘Turn Right, Turn Left,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her installation takes stock of and questions the act of categorization by continuously volleying between two options: “turn left” and “turn right.” Sohn chooses a familiar voice of authority that is often met with steady compliance. For the artist, \u003cem>Turn Right, Turn Left\u003c/em> is a manifesto proclaiming, “Let us not be limited by meaningless, quantifiable labels of age, sex and race or use them as excuses; or let us use those labels to empower and inspire us.” It’s a fitting sentiment not just for Sohn’s work, but for the exhibition as a whole.\u003c/p>\n\u003cp>\u003cem>In-Between Places\u003c/em> features artists at various stages of self-actualization — both in respect to their artistic practice and in coming to terms with their heterogeneous identities. Their ages range from their 20s to their 70s.\u003c/p>\n\u003cp>Artist \u003ca href=\"http://www.kaykangart.com/\" target=\"_blank\" rel=\"noopener\">Kay Kang\u003c/a> falls somewhere in the middle of those extremes. Her \u003cem>beosun\u003c/em> (or socks) made with cast plaster and recycled linen represent a longing for family, decades after she immigrated to the United States. In her piece \u003cem>From East to West\u003c/em>, visitors are met with a seemingly haphazard pile of delicate white socks. “For these \u003cem>beosun\u003c/em>,” she says, “I recycled Korean bed linens, or \u003cem>ramie\u003c/em>, which my family used during hot and humid Korean summer days.”\u003c/p>\n\u003cfigure id=\"attachment_13815888\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg\" alt=\"Kay Kang, Installation view of 'From East to West,' and 'My Journey/Bahljhachwee,' 2017.\" width=\"1200\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-520x319.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kay Kang, Installation view of ‘From East to West,’ and ‘My Journey/Bahljhachwee,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work,” she says, “is a series of footsteps representing every significant step in my journey over the 46 years since immigrating to the United States — a journey filled with myriad hopes, joys, sorrows, fears, and expectations.” Kang adds that the \u003cem>beosun\u003c/em> describe a life journey, and the evolution of women’s roles over the course of that journey.\u003c/p>\n\u003cp>\u003ci>From East to West\u003c/i> captures Kang’s sentimental relationship with Korea. It’s a place she left long ago, but a place that continues to influence the makeup of her identity.\u003c/p>\n\u003cp>The inclusion of multiple generations of Korean-American artists only further illuminates the fact that a case of ambiguous identity isn’t one that’s necessarily cracked in the time it takes to read a Nancy Drew mystery. It’s a condition that requires diligence, time, constant scrutiny of the status quo, and a supportive community. \u003ci>In-Between Places\u003c/i> is a snapshot of a critical juncture in the ongoing journeys of eight very different local Korean-American artists, creating a temporary community that can serve as a buoy throughout the duration of this often introspective and isolating process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In-Between Places: Korean-American Artists in The Bay Area’ is on view at Oakland’s Mills College Art Museum through Dec. 10, 2017. For more information, \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Chinksugi\u003c/em> is a life-size figure made of ceramic, wood, resin, and paint — the title is a play on \u003cem>kintsugi\u003c/em>, the Japanese practice of fixing broken pottery. This technique uses lacquer mixed with gold or silver dust to highlight cracks and embrace the flaws of the piece rather than conceal them. From head to toe, \u003cem>Chinksugi\u003c/em> boasts stereotypical Asian motifs: a Japanese cherry blossom on one of the ankles, a china plate design across the chest.\u003c/p>\n\u003cp>“This work,” says artist Nicholas Oh, “is about how Asian Americans are perceived and generally assumed to be foreigners. My work aims to fight some of these generalizations by embracing stereotypes.”\u003c/p>\n\u003cp>The work Oh refers to was specifically made for \u003cem>\u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">In-Between Places: Korean-American Artists in The Bay Area\u003c/a>\u003c/em>, an exhibition organized by Mills College Art Museum and independently curated by Linda Inson Choy, a contemporary Korean art specialist, with consultation from Hyonjeong Kim Han, associate curator of Korean art at San Francisco’s Asian Art Museum.\u003c/p>\n\u003cfigure id=\"attachment_13815886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg\" alt=\"Jung Ran Bae, 'The Days Like Feathers,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jung Ran Bae, ‘The Days Like Feathers,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are times when someone looks at me and makes a preconceived judgement that I am a foreigner from Asia,” Oh says. “However, in reality, I actually identify with American culture more than my ancestral Korean culture, putting me somewhere in between.”\u003c/p>\n\u003cp>The Bay Area has long been a hub for Korean culture, but the reality of being a Korean-American person means reconciling with the nuances of an ambiguous identity. \u003cem>In-Between Places\u003c/em> — the first exhibition to decidedly acknowledge that Korean-American art is Korean art — showcases a wide variety of media (sculpture, painting, ceramics, video, textiles, performance and installation art) from Bay Area Korean-Americans responding to and reflecting on the multiplicity of their identities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.minjisohn.com/\" target=\"_blank\" rel=\"noopener\">Minji Sohn\u003c/a>, the artist behind \u003cem>Turn Right, Turn Left\u003c/em>, a four-channel video installation that asks visitors to stand on a platform and follow screen prompts, says, “All my life I flew between continents every few months or so, living in-between countries and cultures. This nomad-like experience and in-between-ness have played a major role in shaping my character. It is also a subject of many of my recent investigations and performances.”\u003c/p>\n\u003cfigure id=\"attachment_13815889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg\" alt=\"Minji Sohn, Installation view of 'Turn Right, Turn Left,' 2017.\" width=\"1200\" height=\"785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-520x340.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Minji Sohn, Installation view of ‘Turn Right, Turn Left,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her installation takes stock of and questions the act of categorization by continuously volleying between two options: “turn left” and “turn right.” Sohn chooses a familiar voice of authority that is often met with steady compliance. For the artist, \u003cem>Turn Right, Turn Left\u003c/em> is a manifesto proclaiming, “Let us not be limited by meaningless, quantifiable labels of age, sex and race or use them as excuses; or let us use those labels to empower and inspire us.” It’s a fitting sentiment not just for Sohn’s work, but for the exhibition as a whole.\u003c/p>\n\u003cp>\u003cem>In-Between Places\u003c/em> features artists at various stages of self-actualization — both in respect to their artistic practice and in coming to terms with their heterogeneous identities. Their ages range from their 20s to their 70s.\u003c/p>\n\u003cp>Artist \u003ca href=\"http://www.kaykangart.com/\" target=\"_blank\" rel=\"noopener\">Kay Kang\u003c/a> falls somewhere in the middle of those extremes. Her \u003cem>beosun\u003c/em> (or socks) made with cast plaster and recycled linen represent a longing for family, decades after she immigrated to the United States. In her piece \u003cem>From East to West\u003c/em>, visitors are met with a seemingly haphazard pile of delicate white socks. “For these \u003cem>beosun\u003c/em>,” she says, “I recycled Korean bed linens, or \u003cem>ramie\u003c/em>, which my family used during hot and humid Korean summer days.”\u003c/p>\n\u003cfigure id=\"attachment_13815888\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg\" alt=\"Kay Kang, Installation view of 'From East to West,' and 'My Journey/Bahljhachwee,' 2017.\" width=\"1200\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-520x319.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kay Kang, Installation view of ‘From East to West,’ and ‘My Journey/Bahljhachwee,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work,” she says, “is a series of footsteps representing every significant step in my journey over the 46 years since immigrating to the United States — a journey filled with myriad hopes, joys, sorrows, fears, and expectations.” Kang adds that the \u003cem>beosun\u003c/em> describe a life journey, and the evolution of women’s roles over the course of that journey.\u003c/p>\n\u003cp>\u003ci>From East to West\u003c/i> captures Kang’s sentimental relationship with Korea. It’s a place she left long ago, but a place that continues to influence the makeup of her identity.\u003c/p>\n\u003cp>The inclusion of multiple generations of Korean-American artists only further illuminates the fact that a case of ambiguous identity isn’t one that’s necessarily cracked in the time it takes to read a Nancy Drew mystery. It’s a condition that requires diligence, time, constant scrutiny of the status quo, and a supportive community. \u003ci>In-Between Places\u003c/i> is a snapshot of a critical juncture in the ongoing journeys of eight very different local Korean-American artists, creating a temporary community that can serve as a buoy throughout the duration of this often introspective and isolating process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In-Between Places: Korean-American Artists in The Bay Area’ is on view at Oakland’s Mills College Art Museum through Dec. 10, 2017. For more information, \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To be a black woman is, by default, to lead a textured existence. Just as we learn to reconcile with the hair growing out of our heads — its politicization, its policing, the frequent uninvited grubby hands that attack it, the dreaded single-strand knots — we must constantly mediate between our “racialized identity, visibility, and materiality,” as outlined in the publication for \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/when-and-where-i-enter\" target=\"_blank\" rel=\"noopener\">When and where I enter\u003c/a>\u003c/em>, \u003ca href=\"http://www.angelahennessy.com/home/4514949023\" target=\"_blank\" rel=\"noopener\">Angela Hennessy\u003c/a>’s solo exhibition at Southern Exposure.\u003c/p>\n\u003cp>Still, there’s the black woman’s femininity, her sensuality. Hennessy’s mammoth — might I add, woolly — sculptural works tackle black women’s fraught history through the use of both synthetic and human hair, gathered locally from beauty supply stores and wig shops in her West Oakland neighborhood.\u003c/p>\n\u003cp>The first piece that Hennessy completed for the exhibition is \u003ci>Mourning Wreath\u003c/i>, which also happens to be the first sculpture visitors encounter once they enter the building. The wreath is made of synthetic hair, human hair, found hair, the artist’s hair, gold leaf on copper, enamel paint, chain, a wire frame, and a cement base. Hennessy says the piece is “primarily a response to cross-cultural rituals of offering hair as a sign of respect and grief for the dead.” This piece, along with the others in the show, references Victorian and African hair weaving traditions.\u003c/p>\n\u003cfigure id=\"attachment_13812675\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4129_1200.jpg\" alt=\"Angela Hennessy, 'Black Hole,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, Detail view of ‘Black Hole,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hair,” Hennessy explains, “has long served as a material exchanged between the living and the dead. As a symbol of one’s identity, it is a potent tactile reminder of the separation caused by death. For black people specifically, hair is tangled with politics of race and hierarchies of power.”\u003c/p>\n\u003cp>Hennessy’s installations reclaim hair weaving traditions and mourning rituals with a panoply of fibers and compositions that sit, stand, and hang, stately in the space they take up. And this death motif isn’t a first for Hennessy — in fact, it’s the thematic thread that runs along the vast majority of her work. As an associate professor at CCA, she lectures and leads workshops on the decolonization of death and grief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title of the exhibition comes from an Anna Julia Cooper essay in her 1892 collection, \u003cem>A Voice from the South\u003c/em>. The black feminist scholar writes:\u003c/p>\n\u003cblockquote>\u003cp>Only the black woman can say when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole Negro race enters with me.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 19th and early 20th centuries, Cooper was a proponent of intersectional feminism long before the phrase entered the mainstream. She insisted that black women deserved to take up real space.\u003c/p>\n\u003cp>That same line of thinking is palpable in Hennessy’s works, which in their grand stature, require Southern Exposure’s visitors to maneuver around them with care and foresight.\u003c/p>\n\u003cp>Just six months ago, Hennessy considered giving up her studio and letting go of “making objects and things that took up physical space.” But when the opportunity to work with Southern Exposure arrived, she thought “if the pieces could stand in as bodies then they would also implicate the bodies of those who entered into the space and perhaps complicate the dynamic of subject/object.” The scale of her works guarantees those who interact with them feel imposed upon and stirred.\u003c/p>\n\u003cfigure id=\"attachment_13812690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4180_1200.jpg\" alt=\"Angela Hennessy, 'Unidentified Grieving Objects,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Unidentified Grieving Objects,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Unidentified Grieving Objects\u003c/i>, Hennessy reconfigures a description associated with extraterrestrials, suggesting a closer look at the very authentic anonymous ubiquity of grieving in the black community. The title, Hennessy notes, “refers to a pervasive but sometimes vague feeling of grief in the air that often ornaments blackness. It’s become so familiar that it has a decorative effect — hence the pom pom party aesthetic.”\u003c/p>\n\u003cp>Hennessy reminds me that black people — whether it’s at the hands of tactless popular culture or workplace microaggressions — become melancholic baubles. Their beauty is oft appropriated, but their pain is always misunderstood. Though that’s not all \u003ci>Unidentified Grieving Objects\u003c/i> means to Hennessy. “Suspending black things from wooden beams,” she says, “is also to call upon a certain history of violence.” And it’s that very history of violence and persecution that makes a show like this — one that is so expansive — a beautiful requiem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘When and where I enter’ is on view at Southern Exposure in San Francisco through Dec. 2, 2017. For more information, \u003ca href=\"https://www.soex.org/projects-exhibitions/when-and-where-i-enter\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To be a black woman is, by default, to lead a textured existence. Just as we learn to reconcile with the hair growing out of our heads — its politicization, its policing, the frequent uninvited grubby hands that attack it, the dreaded single-strand knots — we must constantly mediate between our “racialized identity, visibility, and materiality,” as outlined in the publication for \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/when-and-where-i-enter\" target=\"_blank\" rel=\"noopener\">When and where I enter\u003c/a>\u003c/em>, \u003ca href=\"http://www.angelahennessy.com/home/4514949023\" target=\"_blank\" rel=\"noopener\">Angela Hennessy\u003c/a>’s solo exhibition at Southern Exposure.\u003c/p>\n\u003cp>Still, there’s the black woman’s femininity, her sensuality. Hennessy’s mammoth — might I add, woolly — sculptural works tackle black women’s fraught history through the use of both synthetic and human hair, gathered locally from beauty supply stores and wig shops in her West Oakland neighborhood.\u003c/p>\n\u003cp>The first piece that Hennessy completed for the exhibition is \u003ci>Mourning Wreath\u003c/i>, which also happens to be the first sculpture visitors encounter once they enter the building. The wreath is made of synthetic hair, human hair, found hair, the artist’s hair, gold leaf on copper, enamel paint, chain, a wire frame, and a cement base. Hennessy says the piece is “primarily a response to cross-cultural rituals of offering hair as a sign of respect and grief for the dead.” This piece, along with the others in the show, references Victorian and African hair weaving traditions.\u003c/p>\n\u003cfigure id=\"attachment_13812675\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4129_1200.jpg\" alt=\"Angela Hennessy, 'Black Hole,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4129_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, Detail view of ‘Black Hole,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hair,” Hennessy explains, “has long served as a material exchanged between the living and the dead. As a symbol of one’s identity, it is a potent tactile reminder of the separation caused by death. For black people specifically, hair is tangled with politics of race and hierarchies of power.”\u003c/p>\n\u003cp>Hennessy’s installations reclaim hair weaving traditions and mourning rituals with a panoply of fibers and compositions that sit, stand, and hang, stately in the space they take up. And this death motif isn’t a first for Hennessy — in fact, it’s the thematic thread that runs along the vast majority of her work. As an associate professor at CCA, she lectures and leads workshops on the decolonization of death and grief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title of the exhibition comes from an Anna Julia Cooper essay in her 1892 collection, \u003cem>A Voice from the South\u003c/em>. The black feminist scholar writes:\u003c/p>\n\u003cblockquote>\u003cp>Only the black woman can say when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole Negro race enters with me.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 19th and early 20th centuries, Cooper was a proponent of intersectional feminism long before the phrase entered the mainstream. She insisted that black women deserved to take up real space.\u003c/p>\n\u003cp>That same line of thinking is palpable in Hennessy’s works, which in their grand stature, require Southern Exposure’s visitors to maneuver around them with care and foresight.\u003c/p>\n\u003cp>Just six months ago, Hennessy considered giving up her studio and letting go of “making objects and things that took up physical space.” But when the opportunity to work with Southern Exposure arrived, she thought “if the pieces could stand in as bodies then they would also implicate the bodies of those who entered into the space and perhaps complicate the dynamic of subject/object.” The scale of her works guarantees those who interact with them feel imposed upon and stirred.\u003c/p>\n\u003cfigure id=\"attachment_13812690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RZO4180_1200.jpg\" alt=\"Angela Hennessy, 'Unidentified Grieving Objects,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4180_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Unidentified Grieving Objects,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Unidentified Grieving Objects\u003c/i>, Hennessy reconfigures a description associated with extraterrestrials, suggesting a closer look at the very authentic anonymous ubiquity of grieving in the black community. The title, Hennessy notes, “refers to a pervasive but sometimes vague feeling of grief in the air that often ornaments blackness. It’s become so familiar that it has a decorative effect — hence the pom pom party aesthetic.”\u003c/p>\n\u003cp>Hennessy reminds me that black people — whether it’s at the hands of tactless popular culture or workplace microaggressions — become melancholic baubles. Their beauty is oft appropriated, but their pain is always misunderstood. Though that’s not all \u003ci>Unidentified Grieving Objects\u003c/i> means to Hennessy. “Suspending black things from wooden beams,” she says, “is also to call upon a certain history of violence.” And it’s that very history of violence and persecution that makes a show like this — one that is so expansive — a beautiful requiem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘When and where I enter’ is on view at Southern Exposure in San Francisco through Dec. 2, 2017. For more information, \u003ca href=\"https://www.soex.org/projects-exhibitions/when-and-where-i-enter\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\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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"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": {
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"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.",
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"pri-the-world": {
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"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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"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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},
"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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},
"science-friday": {
"id": "science-friday",
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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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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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