SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter
The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each
Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty
‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making
Your Phone is Haunted
A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street
Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery
BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions
Three Local Artists Win SFMOMA’s SECA Art Award
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Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714002413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-24T23:46:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13956359":{"type":"posts","id":"arts_13956359","meta":{"index":"posts_1591205157","site":"arts","id":"13956359","score":null,"sort":[1713982102000]},"guestAuthors":[],"slug":"rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","publishDate":1713982102,"format":"standard","headTitle":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n","blocks":[],"excerpt":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","status":"publish","parent":0,"modified":1713982102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":847},"headData":{"title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","description":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","datePublished":"2024-04-24T18:08:22.000Z","dateModified":"2024-04-24T18:08:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956359","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","authors":["11491"],"categories":["arts_1","arts_73","arts_966","arts_74","arts_967","arts_70"],"tags":["arts_22106","arts_7624","arts_10278","arts_3590","arts_22105"],"featImg":"arts_13956434","label":"arts"},"arts_13956493":{"type":"posts","id":"arts_13956493","meta":{"index":"posts_1591205157","site":"arts","id":"13956493","score":null,"sort":[1713970852000]},"guestAuthors":[],"slug":"musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","title":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty","publishDate":1713970852,"format":"standard","headTitle":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Please don’t ask me to explain them,” Dorothea Tanning \u003ca href=\"https://www.youtube.com/watch?v=92LvYigLMLc\">once said\u003c/a> of her paintings. “I just don’t think it’s possible.”\u003c/p>\n\u003cp>Tanning, who died in 2012 at the age of 101, had a career in the arts that spanned several movements, but Surrealism was always close to her heart. She was working as a commercial artist in New York when the Museum of Modern Art mounted its influential 1936 exhibition \u003cem>\u003ca href=\"https://www.moma.org/calendar/exhibitions/2823\">Fantastic Art, Dada and Surrealism\u003c/a>\u003c/em>, a show that had a lasting impact on the young painter’s aesthetic interests and style. She would become known, for the next seven decades, for her figurative paintings, which often portrayed women and girls navigating labyrinths of doorways.\u003c/p>\n\u003cp>[aside postID='arts_13956354']Tanning’s love of Surrealism was also personal. Her introduction to the circle of émigré Surrealists in New York segued into a 30-year marriage to the German painter and sculptor Max Ernst. Tanning too experimented with sculpture, as well as writing fiction and \u003ca href=\"https://www.poetryfoundation.org/poets/dorothea-tanning\">poetry\u003c/a>.\u003c/p>\n\u003cp>Following a 2018 retrospective that traveled from Madrid’s \u003ca href=\"https://www.museoreinasofia.es/en/exhibitions/dorothea-tanning\">Museo Reina Sofía\u003c/a> to London’s Tate Modern, Tanning’s latest posthumous exhibition is \u003cem>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>\u003c/em>, at Gallery Wendi Norris in San Francisco. The show, which includes a handful of works by Tanning alongside real chairs (not made by Tanning), centers on the exhibition’s namesake, a painting that’s on view for the first time in the United States in over 70 years.\u003c/p>\n\u003cp>The 1951 canvas shows a female figure bent in a contortionist’s pose as she slides off the red velvet upholstery of a tilting chair. The background is a torrent of yellow and green fabric, another chair partially obscured. While essentially Surrealist, the picture also boasts elements of Futurism — a movement that preceded Surrealism and prioritized capturing a sense of motion — and even Cubism, the crumpled fabric evoking a sense of fractured space. Perpetual motion and shifting vantages would remain hallmarks of the painter’s career.\u003c/p>\n\u003cfigure id=\"attachment_13956509\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg\" alt=\"Painting of two figures pushing against central door with hands and feet\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13956509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dorothea Tanning, ‘Door 84,’ 1984; oil on canvas with found door. \u003ccite>(Courtesy of The Destina Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broad range of influences on Tanning’s practice are even more apparent in the juxtaposition of \u003cem>Musical Chairs\u003c/em> with \u003cem>Door 84\u003c/em>, which Tanning painted 33 years later in 1984. The piece consists of two canvases bisected by a wooden door protruding vertically from the wall. Each canvas contains a colorful, expressionistic rendering of a female figure straining to keep the door closed from either side. The diptych merges assemblage, an Abstract Expressionist painting style and Pop sensibilities, something like a hybrid of Jasper Johns, Joan Mitchell and Lisa Yuskavage. Clearly, in the decades after \u003cem>Musical Chairs\u003c/em>, Tanning incorporated even more artistic influences into her repertoire, synthesizing them all through a Surrealist lens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to these major works, the exhibition consists of three smaller, early pieces — one painting and two ink drawings — as well as a rare portfolio of seven lithographs.\u003c/p>\n\u003cp>The two small drawings, of women in ball gowns, show Tanning’s segue from commercial illustration into fine art painting. In the oil-on-canvas \u003cem>Fatala\u003c/em>, she has arrived. A waifish woman embraces a door which is also the cover of a book, her hand slipping through the hole where the doorknob ought to be. The inside pages are revealed to contain wigs and tassels, all easily confusable for each other. Looking at the painting is necessarily disorienting, and makes you wonder what actually setting foot in such a landscape would be like, until you remember that, for the Surrealists, these eerie, dream-like settings already were examinations of the strangeness of lived experience.\u003c/p>\n\u003cfigure id=\"attachment_13956510\" class=\"wp-caption aligncenter\" style=\"max-width: 1780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg\" alt=\"Two images, one a painting of woman reaching hand through doorknob, the other print of a woman hanging upside down\" width=\"1780\" height=\"1280\" class=\"size-full wp-image-13956510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg 1780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1536x1105.jpg 1536w\" sizes=\"(max-width: 1780px) 100vw, 1780px\">\u003cfigcaption class=\"wp-caption-text\">L: Dorothea Tanning, ‘Fatala,’ 1947, oil on canvas, 10 x 7 inches; R: ‘Septième péril (Seventh Peril)’ from ‘Les 7 périls spectraux,’ 1950, color lithographs on paper. \u003ccite>(Courtesy of Gallery Wendi Norris, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In partnership with contemporary design gallery \u003ca href=\"https://www.thefutureperfect.com/\">The Future Perfect\u003c/a>, Tanning’s work here has been paired with a selection of chairs by five designers and design studios. The assortment is fittingly whimsical, including a woven wicker seat that itself resembles a seated figure, and a wooden construction similar to an easel.\u003c/p>\n\u003cp>The inclusion of chairs in the exhibition alludes to Tanning’s own mid-career divergence into sculpture. In the 1970s, while living in Paris, she created what today might be called an “immersive” installation. \u003cem>\u003ca href=\"https://www.dorotheatanning.org/life-and-work/view/132/\">Hôtel du Pavot, Chambre 202\u003c/a>\u003c/em> was a hotel room filled with life-sized dolls bursting through the walls and melting into the furniture, like one of her own paintings brought to life. \u003cem>Chambre 202\u003c/em> had more to do with psychological interiority than interior design, bringing the surreal into reality. Here, the chairs pad an otherwise spare exhibition, but the depth of Tanning’s works more than make up for their small number.\u003c/p>\n\u003cp>The metaphor of musical chairs also extends to Tanning herself. She occupied several artistic roles during her long lifetime, and uncertainty was perhaps her only constant. In the epigraph to Tanning’s first poetry collection, \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/table-content\">A Table of Content\u003c/a>\u003c/em> she wrote, “It’s hard to be always the same person.” Her \u003ca href=\"https://50wattsbooks.com/products/chasm-a-weekend\">only novel\u003c/a> was about a masquerade ball.\u003c/p>\n\u003cp>[aside postID='arts_13956215']Tanning’s apparent persistent, personal bewilderment — unable to explain her work, unsure of who she was — is reflective of the radical uncertainty foundational to the Surrealist sensibility. For these artists, Surrealism was not about disorientation but rather the embrace of cognitive dissonance, something realer than real in the context of postwar life.\u003c/p>\n\u003cp>While Tanning \u003ca href=\"https://bombmagazine.org/articles/1990/10/01/dorothea-tanning/\">resisted a feminist interpretation\u003c/a> of her art, her female subjects seem to oscillate between being at the mercy of the surreal and assuming agency in their navigation of it. Tanning was a woman always on the move, reconfiguring her conceptual position and stylistic approach to best suit her ongoing exploration of the unknown. \u003c/p>\n\u003cp>And maybe that’s the point. The only constant is change; the only sure thing is that which is unsure, unfixed and unreal. \u003cem>Musical Chairs\u003c/em> invites us to sit with that uncertainty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through May 4, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Musical Chairs’ pairs evocative work by the late painter with whimsical, high-design chairs. ","status":"publish","parent":0,"modified":1713925797,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1065},"headData":{"title":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty | KQED","description":"‘Musical Chairs’ pairs evocative work by the late painter with whimsical, high-design chairs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty","datePublished":"2024-04-24T15:00:52.000Z","dateModified":"2024-04-24T02:29:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Max Blue","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956493/musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Please don’t ask me to explain them,” Dorothea Tanning \u003ca href=\"https://www.youtube.com/watch?v=92LvYigLMLc\">once said\u003c/a> of her paintings. “I just don’t think it’s possible.”\u003c/p>\n\u003cp>Tanning, who died in 2012 at the age of 101, had a career in the arts that spanned several movements, but Surrealism was always close to her heart. She was working as a commercial artist in New York when the Museum of Modern Art mounted its influential 1936 exhibition \u003cem>\u003ca href=\"https://www.moma.org/calendar/exhibitions/2823\">Fantastic Art, Dada and Surrealism\u003c/a>\u003c/em>, a show that had a lasting impact on the young painter’s aesthetic interests and style. She would become known, for the next seven decades, for her figurative paintings, which often portrayed women and girls navigating labyrinths of doorways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956354","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Tanning’s love of Surrealism was also personal. Her introduction to the circle of émigré Surrealists in New York segued into a 30-year marriage to the German painter and sculptor Max Ernst. Tanning too experimented with sculpture, as well as writing fiction and \u003ca href=\"https://www.poetryfoundation.org/poets/dorothea-tanning\">poetry\u003c/a>.\u003c/p>\n\u003cp>Following a 2018 retrospective that traveled from Madrid’s \u003ca href=\"https://www.museoreinasofia.es/en/exhibitions/dorothea-tanning\">Museo Reina Sofía\u003c/a> to London’s Tate Modern, Tanning’s latest posthumous exhibition is \u003cem>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>\u003c/em>, at Gallery Wendi Norris in San Francisco. The show, which includes a handful of works by Tanning alongside real chairs (not made by Tanning), centers on the exhibition’s namesake, a painting that’s on view for the first time in the United States in over 70 years.\u003c/p>\n\u003cp>The 1951 canvas shows a female figure bent in a contortionist’s pose as she slides off the red velvet upholstery of a tilting chair. The background is a torrent of yellow and green fabric, another chair partially obscured. While essentially Surrealist, the picture also boasts elements of Futurism — a movement that preceded Surrealism and prioritized capturing a sense of motion — and even Cubism, the crumpled fabric evoking a sense of fractured space. Perpetual motion and shifting vantages would remain hallmarks of the painter’s career.\u003c/p>\n\u003cfigure id=\"attachment_13956509\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg\" alt=\"Painting of two figures pushing against central door with hands and feet\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13956509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dorothea Tanning, ‘Door 84,’ 1984; oil on canvas with found door. \u003ccite>(Courtesy of The Destina Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broad range of influences on Tanning’s practice are even more apparent in the juxtaposition of \u003cem>Musical Chairs\u003c/em> with \u003cem>Door 84\u003c/em>, which Tanning painted 33 years later in 1984. The piece consists of two canvases bisected by a wooden door protruding vertically from the wall. Each canvas contains a colorful, expressionistic rendering of a female figure straining to keep the door closed from either side. The diptych merges assemblage, an Abstract Expressionist painting style and Pop sensibilities, something like a hybrid of Jasper Johns, Joan Mitchell and Lisa Yuskavage. Clearly, in the decades after \u003cem>Musical Chairs\u003c/em>, Tanning incorporated even more artistic influences into her repertoire, synthesizing them all through a Surrealist lens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to these major works, the exhibition consists of three smaller, early pieces — one painting and two ink drawings — as well as a rare portfolio of seven lithographs.\u003c/p>\n\u003cp>The two small drawings, of women in ball gowns, show Tanning’s segue from commercial illustration into fine art painting. In the oil-on-canvas \u003cem>Fatala\u003c/em>, she has arrived. A waifish woman embraces a door which is also the cover of a book, her hand slipping through the hole where the doorknob ought to be. The inside pages are revealed to contain wigs and tassels, all easily confusable for each other. Looking at the painting is necessarily disorienting, and makes you wonder what actually setting foot in such a landscape would be like, until you remember that, for the Surrealists, these eerie, dream-like settings already were examinations of the strangeness of lived experience.\u003c/p>\n\u003cfigure id=\"attachment_13956510\" class=\"wp-caption aligncenter\" style=\"max-width: 1780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg\" alt=\"Two images, one a painting of woman reaching hand through doorknob, the other print of a woman hanging upside down\" width=\"1780\" height=\"1280\" class=\"size-full wp-image-13956510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg 1780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1536x1105.jpg 1536w\" sizes=\"(max-width: 1780px) 100vw, 1780px\">\u003cfigcaption class=\"wp-caption-text\">L: Dorothea Tanning, ‘Fatala,’ 1947, oil on canvas, 10 x 7 inches; R: ‘Septième péril (Seventh Peril)’ from ‘Les 7 périls spectraux,’ 1950, color lithographs on paper. \u003ccite>(Courtesy of Gallery Wendi Norris, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In partnership with contemporary design gallery \u003ca href=\"https://www.thefutureperfect.com/\">The Future Perfect\u003c/a>, Tanning’s work here has been paired with a selection of chairs by five designers and design studios. The assortment is fittingly whimsical, including a woven wicker seat that itself resembles a seated figure, and a wooden construction similar to an easel.\u003c/p>\n\u003cp>The inclusion of chairs in the exhibition alludes to Tanning’s own mid-career divergence into sculpture. In the 1970s, while living in Paris, she created what today might be called an “immersive” installation. \u003cem>\u003ca href=\"https://www.dorotheatanning.org/life-and-work/view/132/\">Hôtel du Pavot, Chambre 202\u003c/a>\u003c/em> was a hotel room filled with life-sized dolls bursting through the walls and melting into the furniture, like one of her own paintings brought to life. \u003cem>Chambre 202\u003c/em> had more to do with psychological interiority than interior design, bringing the surreal into reality. Here, the chairs pad an otherwise spare exhibition, but the depth of Tanning’s works more than make up for their small number.\u003c/p>\n\u003cp>The metaphor of musical chairs also extends to Tanning herself. She occupied several artistic roles during her long lifetime, and uncertainty was perhaps her only constant. In the epigraph to Tanning’s first poetry collection, \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/table-content\">A Table of Content\u003c/a>\u003c/em> she wrote, “It’s hard to be always the same person.” Her \u003ca href=\"https://50wattsbooks.com/products/chasm-a-weekend\">only novel\u003c/a> was about a masquerade ball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956215","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Tanning’s apparent persistent, personal bewilderment — unable to explain her work, unsure of who she was — is reflective of the radical uncertainty foundational to the Surrealist sensibility. For these artists, Surrealism was not about disorientation but rather the embrace of cognitive dissonance, something realer than real in the context of postwar life.\u003c/p>\n\u003cp>While Tanning \u003ca href=\"https://bombmagazine.org/articles/1990/10/01/dorothea-tanning/\">resisted a feminist interpretation\u003c/a> of her art, her female subjects seem to oscillate between being at the mercy of the surreal and assuming agency in their navigation of it. Tanning was a woman always on the move, reconfiguring her conceptual position and stylistic approach to best suit her ongoing exploration of the unknown. \u003c/p>\n\u003cp>And maybe that’s the point. The only constant is change; the only sure thing is that which is unsure, unfixed and unreal. \u003cem>Musical Chairs\u003c/em> invites us to sit with that uncertainty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through May 4, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956493/musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","authors":["byline_arts_13956493"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_769","arts_585"],"featImg":"arts_13956507","label":"arts_140"},"arts_13956354":{"type":"posts","id":"arts_13956354","meta":{"index":"posts_1591205157","site":"arts","id":"13956354","score":null,"sort":[1713913255000]},"guestAuthors":[],"slug":"day-jobs-cantor-arts-center-review","title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","publishDate":1713913255,"format":"standard","headTitle":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","status":"publish","parent":0,"modified":1713910437,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1065},"headData":{"title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","description":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","datePublished":"2024-04-23T23:00:55.000Z","dateModified":"2024-04-23T22:13:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Quintessa Matranga","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956354/day-jobs-cantor-arts-center-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956354/day-jobs-cantor-arts-center-review","authors":["byline_arts_13956354"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3935","arts_10278","arts_769","arts_585"],"featImg":"arts_13956447","label":"arts_140"},"arts_13956215":{"type":"posts","id":"arts_13956215","meta":{"index":"posts_1591205157","site":"arts","id":"13956215","score":null,"sort":[1713544938000]},"guestAuthors":[],"slug":"jen-liu-ghost-world-slash-the-lab-review","title":"Your Phone is Haunted","publishDate":1713544938,"format":"standard","headTitle":"Your Phone is Haunted | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","status":"publish","parent":0,"modified":1713544938,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1057},"headData":{"title":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab | KQED","description":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","ogTitle":"Your Phone is Haunted","ogDescription":"","ogImgId":"","twTitle":"Your Phone is Haunted","twDescription":"","twImgId":"","socialTitle":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Phone is Haunted","datePublished":"2024-04-19T16:42:18.000Z","dateModified":"2024-04-19T16:42:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_70"],"tags":["arts_5391","arts_879","arts_10278","arts_769","arts_585","arts_901"],"featImg":"arts_13956234","label":"arts_140"},"arts_13955879":{"type":"posts","id":"arts_13955879","meta":{"index":"posts_1591205157","site":"arts","id":"13955879","score":null,"sort":[1713292416000]},"guestAuthors":[],"slug":"jonathan-carver-moore-gallery-residency-market-street","title":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","publishDate":1713292416,"format":"standard","headTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Jonathan Carver Moore is not one to rest on his laurels. Less than a year after opening his \u003ca href=\"https://www.jonathancarvermoore.com/\">eponymous gallery\u003c/a> on Market Street, he has launched a residency program in the empty 2,600-square-foot retail space next door. Now, Aplerh-Doku Borlabi’s \u003cem>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/13-bold-solo-presentation-from-aplerh-doku-borlabi/installation_shots/\">BOLD\u003c/a>\u003c/em>, on view through June 8, is Moore’s inaugural artist-in-residency exhibition. The \u003ca href=\"https://www.instagram.com/dokuborlabi/\">Ghanaian artist\u003c/a> created all the work for the show — large-scale portraits using coconut sheafs to depict skin — during the seven weeks he spent in San Francisco. \u003c/p>\n\u003cp>[aside postID='arts_13952117']Since he opened the gallery in March 2023, Moore has brought the work of several international artists into the space, including South African photographer \u003ca href=\"https://www.kqed.org/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography\">Zanele Muholi\u003c/a> and their Cape Town students, Nigerian painter \u003ca href=\"https://www.instagram.com/odinakachi_okoroafor/?hl=en\">Odinakachi Okoroafor\u003c/a> and Cameroonian artist \u003ca href=\"https://www.instagram.com/sesseelangwe/?hl=en\">Sesse Elangwe\u003c/a>. \u003c/p>\n\u003cp>Alongside this international roster, Moore has shown work by a textile artist from Atlanta, a Los Angeles photographer and an Oaklander who now lives in Detroit. He hopes this mingling of local, national and international artists will create a network of its own, with relationships forming that might bring American artists out-of-country opportunities, in turn.\u003c/p>\n\u003cfigure id=\"attachment_13955499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg\" alt=\"Person shifting an artwork on bare drywall in large street-facing space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore adjusts Aplerh-Doku Borlabi’s artwork in the residency’s studio space next door to his gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was only a few months after opening the gallery that Moore started thinking about running a residency. He wanted to give some of those more far-flung artists the experience of working in a different space, and to give Bay Area audiences the chance to see what and how they created. (Moving forward, he plans to invite local artists to the residency as well.) \u003c/p>\n\u003cp>“I wasn’t sure how it was all going to come together, but I think that sometimes, when you support the community, the community in turn supports you,” he says. “It took a couple of minds coming together to make this happen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of those minds belongs to Joy Ou, a designer, developer and landlord of 960 Market St., the building that houses the gallery and residency. Another belongs to Michelle Mansour, the director of nearby \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a> (where Moore is on the board), who recently announced \u003ca href=\"https://rootdivision.org/apply/executive-director/\">she’s leaving the arts nonprofit\u003c/a> after 20 years. \u003c/p>\n\u003cp>With all the hype around San Francisco’s “doom loop,” you might think people wouldn’t be interested in heading to mid-Market to see art. But Ou saw that Moore could pack the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13955502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg\" alt=\"Black man leans against doorframe, windows facing street, red-painted gallery walls behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore stands in the doorway of his Market Street gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When he had his opening, he had a line down the block,” she says. “I was like, ‘Who is this guy that he can have this kind of draw?’”\u003c/p>\n\u003cp>Moore, Ou and Mansour had dinner last summer to talk about the neighborhood and what they could create together. \u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Michelle Mansour, Root Division']‘You can also just do the things, and Jonathan is very much that kind of person.’[/pullquote]“Then fast forward to January, and I was like, ‘Hey, what’s happening with this space next door?’” Moore remembers asking Ou. “She said, ‘It’s vacant. What are you seeing happen?’ And the three of us got on the Zoom, and I swear, within an hour, we had a plan.”\u003c/p>\n\u003cp>Mansour helped Moore put together a budget, factoring in art materials, travel from Ghana and a $5,000 stipend. Ou donated the space for the artist’s ground-floor studio, as well as an apartment upstairs for the residency. Moore called Borlabi to confirm timing and bought the artist a plane ticket. \u003c/p>\n\u003cp>Like Ou, Mansour appreciates Moore’s focus and determination. \u003c/p>\n\u003cp>“The idea of just making something happen, a let’s-do-this attitude, as opposed to, ‘We could talk about it or set up meetings to talk about what we’re going to talk about in the next meeting,’” Mansour says. “You can also just do the things, and Jonathan is very much that kind of person.”\u003c/p>\n\u003cfigure id=\"attachment_13955500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg\" alt=\"Small figure looks at large-scale portrait paintings in gallery space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aplerh-Doku Borlabi’s exhibition ‘BOLD’ is on view at Jonathan Carver Moore Gallery through June 8, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore, who has a master’s in public relations from George Washington University, reached out to organizations in the Tenderloin and beyond to bolster Borlabi’s residency. He hired a photographer and a videographer to document the artist in the studio and hosted several events in both spaces, including the gallery’s one-year anniversary party and the opening of \u003cem>BOLD\u003c/em>. Grants from the \u003ca href=\"https://www.nclfinc.org/\">New Community Leadership Foundation\u003c/a> and \u003ca href=\"https://www.marketstreetarts.org/\">Market Street Arts\u003c/a> helped pay for those events. \u003c/p>\n\u003cp>Pamela Hornik, a Bay Area arts supporter and collector of Borlabi’s work, also organized a breakfast at the gallery. Hornik says artists working in empty spaces brings vitality to the area, but organizing that activity requires follow-through.\u003c/p>\n\u003cp>“It seems like such a simple idea, but nothing is easy. You can’t just use spaces because you have to be able to turn on the heat and turn on the lights,” Hornik says. “The fact that they were able to make this happen is pretty amazing, but Jonathan just makes things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13956066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13956066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moore carries a ladder through the 2,600-square-foot space he’s annexed as a studio for artists in residence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fall, Moore plans to bring in Sesse Elangwe who, like Borlabi, was one of six men from throughout the African diaspora featured in Moore’s second exhibition, \u003ci>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/7-black-as-an-experience-not-as-a-color-a-group-exhibition/overview/\">Black as an Experience, Not as a Color\u003c/a>\u003c/i>. Coming up, Moore plans to host a local LGBTQ+ artist in the residency, with the goal of having their work on view when the Pride Parade goes down Market Street in late June. \u003c/p>\n\u003cp>He says with Borlabi, he saw the difference a residency can make for an artists. \u003c/p>\n\u003cp>“I think Doku told me that his studio that he works out of and shares with Amoako Boafo is maybe a half the size of the gallery,” Moore says. “So, to have almost 3,000 square feet just for him meant he was able to spread out and just let his mind wander and create.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘BOLD’ is on view at \u003ca href=\"https://www.jonathancarvermoore.com/\">Jonathan Carver Moore\u003c/a> (966 Market St., San Francisco) through June 8, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Less than a year after he opened his gallery, Jonathan Carver Moore has expanded to host visiting artists.","status":"publish","parent":0,"modified":1713292416,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1101},"headData":{"title":"Jonathan Carver Moore Adds a Residency Program to His Gallery | KQED","description":"Less than a year after he opened his gallery, Jonathan Carver Moore has expanded to host visiting artists.","ogTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","ogDescription":"","ogImgId":"","twTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","twDescription":"","twImgId":"","socialTitle":"Jonathan Carver Moore Adds a Residency Program to His Gallery %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","datePublished":"2024-04-16T18:33:36.000Z","dateModified":"2024-04-16T18:33:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Emily Wilson","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955879/jonathan-carver-moore-gallery-residency-market-street","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Carver Moore is not one to rest on his laurels. Less than a year after opening his \u003ca href=\"https://www.jonathancarvermoore.com/\">eponymous gallery\u003c/a> on Market Street, he has launched a residency program in the empty 2,600-square-foot retail space next door. Now, Aplerh-Doku Borlabi’s \u003cem>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/13-bold-solo-presentation-from-aplerh-doku-borlabi/installation_shots/\">BOLD\u003c/a>\u003c/em>, on view through June 8, is Moore’s inaugural artist-in-residency exhibition. The \u003ca href=\"https://www.instagram.com/dokuborlabi/\">Ghanaian artist\u003c/a> created all the work for the show — large-scale portraits using coconut sheafs to depict skin — during the seven weeks he spent in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952117","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since he opened the gallery in March 2023, Moore has brought the work of several international artists into the space, including South African photographer \u003ca href=\"https://www.kqed.org/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography\">Zanele Muholi\u003c/a> and their Cape Town students, Nigerian painter \u003ca href=\"https://www.instagram.com/odinakachi_okoroafor/?hl=en\">Odinakachi Okoroafor\u003c/a> and Cameroonian artist \u003ca href=\"https://www.instagram.com/sesseelangwe/?hl=en\">Sesse Elangwe\u003c/a>. \u003c/p>\n\u003cp>Alongside this international roster, Moore has shown work by a textile artist from Atlanta, a Los Angeles photographer and an Oaklander who now lives in Detroit. He hopes this mingling of local, national and international artists will create a network of its own, with relationships forming that might bring American artists out-of-country opportunities, in turn.\u003c/p>\n\u003cfigure id=\"attachment_13955499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg\" alt=\"Person shifting an artwork on bare drywall in large street-facing space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore adjusts Aplerh-Doku Borlabi’s artwork in the residency’s studio space next door to his gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was only a few months after opening the gallery that Moore started thinking about running a residency. He wanted to give some of those more far-flung artists the experience of working in a different space, and to give Bay Area audiences the chance to see what and how they created. (Moving forward, he plans to invite local artists to the residency as well.) \u003c/p>\n\u003cp>“I wasn’t sure how it was all going to come together, but I think that sometimes, when you support the community, the community in turn supports you,” he says. “It took a couple of minds coming together to make this happen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those minds belongs to Joy Ou, a designer, developer and landlord of 960 Market St., the building that houses the gallery and residency. Another belongs to Michelle Mansour, the director of nearby \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a> (where Moore is on the board), who recently announced \u003ca href=\"https://rootdivision.org/apply/executive-director/\">she’s leaving the arts nonprofit\u003c/a> after 20 years. \u003c/p>\n\u003cp>With all the hype around San Francisco’s “doom loop,” you might think people wouldn’t be interested in heading to mid-Market to see art. But Ou saw that Moore could pack the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13955502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg\" alt=\"Black man leans against doorframe, windows facing street, red-painted gallery walls behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore stands in the doorway of his Market Street gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When he had his opening, he had a line down the block,” she says. “I was like, ‘Who is this guy that he can have this kind of draw?’”\u003c/p>\n\u003cp>Moore, Ou and Mansour had dinner last summer to talk about the neighborhood and what they could create together. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘You can also just do the things, and Jonathan is very much that kind of person.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Michelle Mansour, Root Division","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Then fast forward to January, and I was like, ‘Hey, what’s happening with this space next door?’” Moore remembers asking Ou. “She said, ‘It’s vacant. What are you seeing happen?’ And the three of us got on the Zoom, and I swear, within an hour, we had a plan.”\u003c/p>\n\u003cp>Mansour helped Moore put together a budget, factoring in art materials, travel from Ghana and a $5,000 stipend. Ou donated the space for the artist’s ground-floor studio, as well as an apartment upstairs for the residency. Moore called Borlabi to confirm timing and bought the artist a plane ticket. \u003c/p>\n\u003cp>Like Ou, Mansour appreciates Moore’s focus and determination. \u003c/p>\n\u003cp>“The idea of just making something happen, a let’s-do-this attitude, as opposed to, ‘We could talk about it or set up meetings to talk about what we’re going to talk about in the next meeting,’” Mansour says. “You can also just do the things, and Jonathan is very much that kind of person.”\u003c/p>\n\u003cfigure id=\"attachment_13955500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg\" alt=\"Small figure looks at large-scale portrait paintings in gallery space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aplerh-Doku Borlabi’s exhibition ‘BOLD’ is on view at Jonathan Carver Moore Gallery through June 8, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore, who has a master’s in public relations from George Washington University, reached out to organizations in the Tenderloin and beyond to bolster Borlabi’s residency. He hired a photographer and a videographer to document the artist in the studio and hosted several events in both spaces, including the gallery’s one-year anniversary party and the opening of \u003cem>BOLD\u003c/em>. Grants from the \u003ca href=\"https://www.nclfinc.org/\">New Community Leadership Foundation\u003c/a> and \u003ca href=\"https://www.marketstreetarts.org/\">Market Street Arts\u003c/a> helped pay for those events. \u003c/p>\n\u003cp>Pamela Hornik, a Bay Area arts supporter and collector of Borlabi’s work, also organized a breakfast at the gallery. Hornik says artists working in empty spaces brings vitality to the area, but organizing that activity requires follow-through.\u003c/p>\n\u003cp>“It seems like such a simple idea, but nothing is easy. You can’t just use spaces because you have to be able to turn on the heat and turn on the lights,” Hornik says. “The fact that they were able to make this happen is pretty amazing, but Jonathan just makes things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13956066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13956066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moore carries a ladder through the 2,600-square-foot space he’s annexed as a studio for artists in residence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fall, Moore plans to bring in Sesse Elangwe who, like Borlabi, was one of six men from throughout the African diaspora featured in Moore’s second exhibition, \u003ci>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/7-black-as-an-experience-not-as-a-color-a-group-exhibition/overview/\">Black as an Experience, Not as a Color\u003c/a>\u003c/i>. Coming up, Moore plans to host a local LGBTQ+ artist in the residency, with the goal of having their work on view when the Pride Parade goes down Market Street in late June. \u003c/p>\n\u003cp>He says with Borlabi, he saw the difference a residency can make for an artists. \u003c/p>\n\u003cp>“I think Doku told me that his studio that he works out of and shares with Amoako Boafo is maybe a half the size of the gallery,” Moore says. “So, to have almost 3,000 square feet just for him meant he was able to spread out and just let his mind wander and create.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘BOLD’ is on view at \u003ca href=\"https://www.jonathancarvermoore.com/\">Jonathan Carver Moore\u003c/a> (966 Market St., San Francisco) through June 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955879/jonathan-carver-moore-gallery-residency-market-street","authors":["byline_arts_13955879"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1020","arts_901"],"featImg":"arts_13955501","label":"arts"},"arts_13955870":{"type":"posts","id":"arts_13955870","meta":{"index":"posts_1591205157","site":"arts","id":"13955870","score":null,"sort":[1713222798000]},"guestAuthors":[],"slug":"post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","title":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","publishDate":1713222798,"format":"aside","headTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>[aside postid='arts_13951379']This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Paintings by Mike Davis and Michael Kerbow predict what happens to Earth when humans are no longer in charge.","status":"publish","parent":0,"modified":1713222798,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":644},"headData":{"title":"Post-Apocalyptic Paintings Inspire Awe at 111 Minna Gallery in SF | KQED","description":"Paintings by Mike Davis and Michael Kerbow predict what happens to Earth when humans are no longer in charge.","ogTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","ogDescription":"","ogImgId":"","twTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","twDescription":"","twImgId":"","socialTitle":"Post-Apocalyptic Paintings Inspire Awe at 111 Minna Gallery in SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","datePublished":"2024-04-15T23:13:18.000Z","dateModified":"2024-04-15T23:13:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955870/post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951379","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955870/post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_22079","arts_769","arts_1146","arts_585"],"featImg":"arts_13955980","label":"arts_140"},"arts_13955969":{"type":"posts","id":"arts_13955969","meta":{"index":"posts_1591205157","site":"arts","id":"13955969","score":null,"sort":[1713212390000]},"guestAuthors":[],"slug":"a-movement-in-every-direction-bampfa-the-great-migration-review","title":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","publishDate":1713212390,"format":"standard","headTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","status":"publish","parent":0,"modified":1713462723,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1024},"headData":{"title":"BAMPFA Show Tells Stories of the Great Migration Through Art | KQED","description":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","ogTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","ogDescription":"","ogImgId":"","twTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","twDescription":"","twImgId":"","socialTitle":"BAMPFA Show Tells Stories of the Great Migration Through Art %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","datePublished":"2024-04-15T20:19:50.000Z","dateModified":"2024-04-18T17:52:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10342","arts_10278","arts_13952","arts_769","arts_585"],"featImg":"arts_13955973","label":"arts_140"},"arts_13955864":{"type":"posts","id":"arts_13955864","meta":{"index":"posts_1591205157","site":"arts","id":"13955864","score":null,"sort":[1712937619000]},"guestAuthors":[],"slug":"sfmoma-2024-seca-art-award-announcement","title":"Three Local Artists Win SFMOMA’s SECA Art Award","publishDate":1712937619,"format":"standard","headTitle":"Three Local Artists Win SFMOMA’s SECA Art Award | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Lauren D’Amato, Angela Hennessy and Rupy C. Tut will open an exhibition at the museum in December.","status":"publish","parent":0,"modified":1712881846,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":404},"headData":{"title":"Three Local Artists Win SFMOMA’s SECA Art Award | KQED","description":"Lauren D’Amato, Angela Hennessy and Rupy C. Tut will open an exhibition at the museum in December.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Three Local Artists Win SFMOMA’s SECA Art Award","datePublished":"2024-04-12T16:00:19.000Z","dateModified":"2024-04-12T00:30:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955864/sfmoma-2024-seca-art-award-announcement","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955864/sfmoma-2024-seca-art-award-announcement","authors":["61"],"categories":["arts_1","arts_70"],"featImg":"arts_13955871","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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