SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals
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‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music
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He’s just gotten back from doing visuals at Coachella with LA psych rockers Jjuujjuu. And while Panchiko’s Berkeley tour stop might be Rodell’s first time working with the British indie band, he’s doing anything but playing it safe.\u003c/p>\n\u003cp>“You always want to envelop the audience so there’s visuals in your peripheral,” Rodell says as he juggles software platforms on his computer, which is connected to different MIDI controllers and analog hardware. “Lose your senses. Get lost in a show. … So I’m gonna try something really risky.”\u003c/p>\n\u003cp>The show is about to start, yet Rodell — who lives in San Francisco’s Sunset district — is still downloading new digital art code packets from his command center next to the sound booth. He wants to project a deep-cut Sega Saturn warning graphic to make it look like the band is playing inside of an old video game — a fitting decision given that Panchiko’s young, internet-obsessed fanbase \u003ca href=\"https://www.34st.com/article/2024/04/resurrection-of-panchiko-lost-wave-band-comeback\">unearthed their music online\u003c/a> almost 20 years after it was first released.\u003c/p>\n\u003cfigure id=\"attachment_13957285\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">Chokecherry performs at the Chapel in San Francisco on April 12, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodell typically begins his process by recording a band on stage, then projecting that footage live onto a venue’s walls while layering it with fuzzed-out graphics and trippy, distorted colors. It creates a kind of living, breathing visual companion to the music, whose metamorphosis unfolds before the audience.\u003c/p>\n\u003cp>Panchiko’s performance feels like a full-on audiovisual ecosystem. The band plays in front of a live superimposition of themselves soaked in Rodell’s digital watercolors, layered atop anime and gaming graphics. At the end of the night, Rodell is pleased with himself, even though he says wi-fi issues prevented him from executing all the “risks” he wanted to take, including a live AI art projection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the band is stoked, and Rodell gets confirmed to work with Panchiko for their next seven tour dates. Not to mention, he still has the second weekend of Coachella to head down to.\u003c/p>\n\u003ch2>Elevating the concert experience\u003c/h2>\n\u003cp>Coupled with his regular lighting and visual technician gigs at San Francisco rooms like Rickshaw Stop, Great American Music Hall and The Chapel, Rodell’s work is in demand. He was in talks to do visuals for André 3000’s Big Sur show this past April at Henry Miller Library, before road closures on Highway 1 forced a postponement.\u003c/p>\n\u003cp>When Oakland band \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a> headlined a bill at Rickshaw Stop earlier this year, Rodell wrapped a canvas around the entire room to create 360-degree projections. At one point, it felt like the band and audience were inside a psychedelic aquarium. It was sick.\u003c/p>\n\u003cp>“Every show that Zach works, he elevates,” says Rickshaw Stop Head of Operations Dan Strachota.\u003c/p>\n\u003cp>https://youtu.be/ui5I-YwbaKs?si=VuF6UBb71BqsTMnr&t=155\u003c/p>\n\u003cp>Rodell’s rise comes at a fortuitous time in the live music industry, where promoters and consumers are swarming over the idea of concerts that are visually enhanced. Look no further than the Sphere in Las Vegas for the alpha example of this: It’s an immersive, 18,600-person concert hall where attendees are inside of a live music snow globe of sorts, featuring a 360-degree 16K LED visual display, spatial audio and 4D effects. U2 and Phish played widely publicized residencies since it opened last September, and Dead & Company have a 24-show run starting this month.\u003c/p>\n\u003ch2>Continuing a psychedelic SF legacy\u003c/h2>\n\u003cp>When it comes to Dead & Co especially, it’s hard to not think about how this represents an evolution of the ’60s Grateful Dead shows in SF venues like the Avalon and Carousel Ballroom. Visual artists like Bill Ham and Glenn McKay created psychedelic, oil-spinning light shows, making venues feel like the inside of a lava lamp — a perfect place to indulge in hallucinogens. Rodell is friends with the 92-year old Ham, and his work builds upon that ’60s San Francisco tradition. Even if it happened by accident.\u003c/p>\n\u003cp>Rodell grew up in the Inland Empire city of Rancho Cucamonga. “I love that it’s my hometown. Frank Zappa got arrested here,” he says with a smile. [aside postid='arts_13956541']\u003c/p>\n\u003cp>He went to school for airplane mechanics and made a move to East Palo Alto in 2012 to live with a girl he met on a Coachella message board. (“I ran into Mark Zuckerberg once, and he wouldn’t let me pet his dog,” he quips.) He was working at a startup that made oil-less generators, and immersed himself in live music and festival culture.\u003c/p>\n\u003cp>While volunteering at Sonoma County’s psych-rock staple, Huichica Festival, in 2015, Rodell found himself backstage talking to — of all people — Dead Kennedys frontman and SF political jester Jello Biafra.\u003c/p>\n\u003cp>“We were talking about how Bernie [Sanders] just lost the primary, and Jello was like, ‘I can’t talk about this stuff ’cause the Green Party will be all up on me,’” Rodell recalls. “So he changes the subject and was like, ‘Look at all this lighting stuff!’”\u003c/p>\n\u003cp>Biafra was referencing the spinning platters adorned with oils, dyes and inks that Mad Alchemy Light Show’s Lance Gordon began making in the ’70s and revived in the late aughts after a decades-long hiatus.\u003c/p>\n\u003cp>Gordon was inspired by the likes of Ham, McKay and Brotherhood of Light, artists who helped cement the live legacies of the Grateful Dead, Big Brother and the Holding Company and The Allman Brothers Band. These acts were seen as truly psychedelic performers. Today, Mad Alchemy is, by all accounts, the modern day benchmark for psychedelic light shows.\u003c/p>\n\u003cfigure id=\"attachment_13957284\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">JJuujjuu performs at the Chapel in San Francisco, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intrigued, Rodell got Gordon’s card, followed up and was soon working with him as an assistant. He broke up with the girl and dove deeper into his work with Mad Alchemy, including a yearly stint at Desert Daze festival in Joshua Tree, which has grown into the nation’s premier psych music fest. (He’s worked Desert Daze seven times, creating visuals for over 100 artists in the process.) Rodell gleaned much from Gordon, but the pair had a falling out in 2018. They briefly came back together during the pandemic in 2020, and Rodell set off on his own for good in 2021.\u003c/p>\n\u003cp>“Mad Alchemy is only liquids — it’s beautiful — but I want to do all types of visuals. I’m not trying to copy his stuff,” Rodell says. “I like cam footage and repurposing the footage of the band into art, and it’s mostly improv. The more I have to put thought into something or worry about it, I find myself not having as much fun.”\u003c/p>\n\u003cp>He learns new techniques online, watching YouTube videos, staying active on forums, always looking for new modes to add to his arsenal. Over the years, he’s worked with bands from all over the world, in all edges of psychedelia, pushing the envelope of the complete experience. Australia’s Surprise Chef, Afro-soul collective Budos Band, New Zealand psych-folk singer Aldous Harding, LA dreamy indie outfit The Marías, Bronx funk legends ESG, Zamrock pioneers W.I.T.C.H., local luminary \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon Shaw\u003c/a>, Stereolab’s Laetitia Sadier and so forth.\u003c/p>\n\u003ch2>Trippy visuals for a new generation\u003c/h2>\n\u003cp>Fast forward to a recent Friday night at The Chapel in San Francisco’s Mission District, and Rodell is erecting scaffolding to mount his enormous, 65-pound projector to do visuals for SF shoegaze band LSD and the Search For God, along with Jjuujjuu and Chokecherry. Jjuujjuu is bringing Rodell to Coachella with them later that weekend. Bandleader Phil Pirrone — who also happens to have founded the Desert Daze festival — knows exactly why Rodell is the artist he wants to accompany the band on music’s biggest stage at Coachella.\u003c/p>\n\u003cp>“Our show is less about us and more about you,” Pirrone says. “He helps facilitate that. For our kind of band, and for Zach as the kind of projection artist he is, it always feels like it completes the intention of it to be an out-of-body experience.” [aside postid='arts_13957227']\u003c/p>\n\u003cp>With Rodell’s help, a band can have this living organism behind them, almost like a kinetic, phonetic embodiment of the music. Just as Bill Ham and Glenn McKay intended in the ’60s, the visuals help audiences let go of their inhibitions and feel more alive. For Rodell — who enjoys his morning coffee while looking out at Ocean Beach, and drives his gear solo to gigs, even Coachella — his art is an extension of a deeply personal connection to live music. One that he hopes to pass on to others.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m just hoping down the line I’m gonna meet some kid who was like, ‘I tripped balls to your shows in high school!’” he exclaims. “I wanna hear that, that someone had an amazing time at a show, and the visuals helped it out and made the band look cool.”\u003c/p>\n\n","blocks":[],"excerpt":"His kaleidoscopic projections have taken him from Bay Area clubs to Coachella. ","status":"publish","parent":0,"modified":1715036254,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1638},"headData":{"title":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals | KQED","description":"His kaleidoscopic projections have taken him from Bay Area clubs to Coachella. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals","datePublished":"2024-05-06T21:00:50.000Z","dateModified":"2024-05-06T22:57:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli ","nprStoryId":"kqed-13957282","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957282/zach-rodell-concert-visual-projection-artist-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments before Panchiko takes the stage at their sold-out UC Theatre show in April, \u003ca href=\"https://www.instagram.com/zackr_thx_1138/?hl=en\">Zach Rodell\u003c/a> is plotting a visual projection display he’s never done before. He’s just gotten back from doing visuals at Coachella with LA psych rockers Jjuujjuu. And while Panchiko’s Berkeley tour stop might be Rodell’s first time working with the British indie band, he’s doing anything but playing it safe.\u003c/p>\n\u003cp>“You always want to envelop the audience so there’s visuals in your peripheral,” Rodell says as he juggles software platforms on his computer, which is connected to different MIDI controllers and analog hardware. “Lose your senses. Get lost in a show. … So I’m gonna try something really risky.”\u003c/p>\n\u003cp>The show is about to start, yet Rodell — who lives in San Francisco’s Sunset district — is still downloading new digital art code packets from his command center next to the sound booth. He wants to project a deep-cut Sega Saturn warning graphic to make it look like the band is playing inside of an old video game — a fitting decision given that Panchiko’s young, internet-obsessed fanbase \u003ca href=\"https://www.34st.com/article/2024/04/resurrection-of-panchiko-lost-wave-band-comeback\">unearthed their music online\u003c/a> almost 20 years after it was first released.\u003c/p>\n\u003cfigure id=\"attachment_13957285\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">Chokecherry performs at the Chapel in San Francisco on April 12, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodell typically begins his process by recording a band on stage, then projecting that footage live onto a venue’s walls while layering it with fuzzed-out graphics and trippy, distorted colors. It creates a kind of living, breathing visual companion to the music, whose metamorphosis unfolds before the audience.\u003c/p>\n\u003cp>Panchiko’s performance feels like a full-on audiovisual ecosystem. The band plays in front of a live superimposition of themselves soaked in Rodell’s digital watercolors, layered atop anime and gaming graphics. At the end of the night, Rodell is pleased with himself, even though he says wi-fi issues prevented him from executing all the “risks” he wanted to take, including a live AI art projection.\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>Regardless, the band is stoked, and Rodell gets confirmed to work with Panchiko for their next seven tour dates. Not to mention, he still has the second weekend of Coachella to head down to.\u003c/p>\n\u003ch2>Elevating the concert experience\u003c/h2>\n\u003cp>Coupled with his regular lighting and visual technician gigs at San Francisco rooms like Rickshaw Stop, Great American Music Hall and The Chapel, Rodell’s work is in demand. He was in talks to do visuals for André 3000’s Big Sur show this past April at Henry Miller Library, before road closures on Highway 1 forced a postponement.\u003c/p>\n\u003cp>When Oakland band \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a> headlined a bill at Rickshaw Stop earlier this year, Rodell wrapped a canvas around the entire room to create 360-degree projections. At one point, it felt like the band and audience were inside a psychedelic aquarium. It was sick.\u003c/p>\n\u003cp>“Every show that Zach works, he elevates,” says Rickshaw Stop Head of Operations Dan Strachota.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ui5I-YwbaKs'\n title='//www.youtube.com/embed/ui5I-YwbaKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rodell’s rise comes at a fortuitous time in the live music industry, where promoters and consumers are swarming over the idea of concerts that are visually enhanced. Look no further than the Sphere in Las Vegas for the alpha example of this: It’s an immersive, 18,600-person concert hall where attendees are inside of a live music snow globe of sorts, featuring a 360-degree 16K LED visual display, spatial audio and 4D effects. U2 and Phish played widely publicized residencies since it opened last September, and Dead & Company have a 24-show run starting this month.\u003c/p>\n\u003ch2>Continuing a psychedelic SF legacy\u003c/h2>\n\u003cp>When it comes to Dead & Co especially, it’s hard to not think about how this represents an evolution of the ’60s Grateful Dead shows in SF venues like the Avalon and Carousel Ballroom. Visual artists like Bill Ham and Glenn McKay created psychedelic, oil-spinning light shows, making venues feel like the inside of a lava lamp — a perfect place to indulge in hallucinogens. Rodell is friends with the 92-year old Ham, and his work builds upon that ’60s San Francisco tradition. Even if it happened by accident.\u003c/p>\n\u003cp>Rodell grew up in the Inland Empire city of Rancho Cucamonga. “I love that it’s my hometown. Frank Zappa got arrested here,” he says with a smile. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956541","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He went to school for airplane mechanics and made a move to East Palo Alto in 2012 to live with a girl he met on a Coachella message board. (“I ran into Mark Zuckerberg once, and he wouldn’t let me pet his dog,” he quips.) He was working at a startup that made oil-less generators, and immersed himself in live music and festival culture.\u003c/p>\n\u003cp>While volunteering at Sonoma County’s psych-rock staple, Huichica Festival, in 2015, Rodell found himself backstage talking to — of all people — Dead Kennedys frontman and SF political jester Jello Biafra.\u003c/p>\n\u003cp>“We were talking about how Bernie [Sanders] just lost the primary, and Jello was like, ‘I can’t talk about this stuff ’cause the Green Party will be all up on me,’” Rodell recalls. “So he changes the subject and was like, ‘Look at all this lighting stuff!’”\u003c/p>\n\u003cp>Biafra was referencing the spinning platters adorned with oils, dyes and inks that Mad Alchemy Light Show’s Lance Gordon began making in the ’70s and revived in the late aughts after a decades-long hiatus.\u003c/p>\n\u003cp>Gordon was inspired by the likes of Ham, McKay and Brotherhood of Light, artists who helped cement the live legacies of the Grateful Dead, Big Brother and the Holding Company and The Allman Brothers Band. These acts were seen as truly psychedelic performers. Today, Mad Alchemy is, by all accounts, the modern day benchmark for psychedelic light shows.\u003c/p>\n\u003cfigure id=\"attachment_13957284\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">JJuujjuu performs at the Chapel in San Francisco, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intrigued, Rodell got Gordon’s card, followed up and was soon working with him as an assistant. He broke up with the girl and dove deeper into his work with Mad Alchemy, including a yearly stint at Desert Daze festival in Joshua Tree, which has grown into the nation’s premier psych music fest. (He’s worked Desert Daze seven times, creating visuals for over 100 artists in the process.) Rodell gleaned much from Gordon, but the pair had a falling out in 2018. They briefly came back together during the pandemic in 2020, and Rodell set off on his own for good in 2021.\u003c/p>\n\u003cp>“Mad Alchemy is only liquids — it’s beautiful — but I want to do all types of visuals. I’m not trying to copy his stuff,” Rodell says. “I like cam footage and repurposing the footage of the band into art, and it’s mostly improv. The more I have to put thought into something or worry about it, I find myself not having as much fun.”\u003c/p>\n\u003cp>He learns new techniques online, watching YouTube videos, staying active on forums, always looking for new modes to add to his arsenal. Over the years, he’s worked with bands from all over the world, in all edges of psychedelia, pushing the envelope of the complete experience. Australia’s Surprise Chef, Afro-soul collective Budos Band, New Zealand psych-folk singer Aldous Harding, LA dreamy indie outfit The Marías, Bronx funk legends ESG, Zamrock pioneers W.I.T.C.H., local luminary \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon Shaw\u003c/a>, Stereolab’s Laetitia Sadier and so forth.\u003c/p>\n\u003ch2>Trippy visuals for a new generation\u003c/h2>\n\u003cp>Fast forward to a recent Friday night at The Chapel in San Francisco’s Mission District, and Rodell is erecting scaffolding to mount his enormous, 65-pound projector to do visuals for SF shoegaze band LSD and the Search For God, along with Jjuujjuu and Chokecherry. Jjuujjuu is bringing Rodell to Coachella with them later that weekend. Bandleader Phil Pirrone — who also happens to have founded the Desert Daze festival — knows exactly why Rodell is the artist he wants to accompany the band on music’s biggest stage at Coachella.\u003c/p>\n\u003cp>“Our show is less about us and more about you,” Pirrone says. “He helps facilitate that. For our kind of band, and for Zach as the kind of projection artist he is, it always feels like it completes the intention of it to be an out-of-body experience.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957227","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Rodell’s help, a band can have this living organism behind them, almost like a kinetic, phonetic embodiment of the music. Just as Bill Ham and Glenn McKay intended in the ’60s, the visuals help audiences let go of their inhibitions and feel more alive. For Rodell — who enjoys his morning coffee while looking out at Ocean Beach, and drives his gear solo to gigs, even Coachella — his art is an extension of a deeply personal connection to live music. One that he hopes to pass on to others.\u003c/p>\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>“I’m just hoping down the line I’m gonna meet some kid who was like, ‘I tripped balls to your shows in high school!’” he exclaims. “I wanna hear that, that someone had an amazing time at a show, and the visuals helped it out and made the band look cool.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957282/zach-rodell-concert-visual-projection-artist-sf","authors":["byline_arts_13957282"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_10278","arts_681","arts_1146"],"featImg":"arts_13957283","label":"arts"},"arts_13957242":{"type":"posts","id":"arts_13957242","meta":{"index":"posts_1591205157","site":"arts","id":"13957242","score":null,"sort":[1715028532000]},"guestAuthors":[],"slug":"wolfe-pack-studios-final-show-unfinished-business-rachel-wolfe-goldsmith","title":"Wolfe Pack Studios’ Final Show Isn’t Bad News","publishDate":1715028532,"format":"standard","headTitle":"Wolfe Pack Studios’ Final Show Isn’t Bad News | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Even when venues close and galleries shutter, the idea that led to the creation of the space can remain; sometimes that idea can grow.\u003c/p>\n\u003cp>This is true for Oakland-based painter \u003ca href=\"https://www.instagram.com/rachelwolfepack/\" target=\"_blank\" rel=\"noopener\">Rachel Wolfe-Goldsmith,\u003c/a> whose event space, studio and gallery\u003ca href=\"https://www.instagram.com/wolfepack_studios/\" target=\"_blank\" rel=\"noopener\"> Wolfe Pack Studios\u003c/a> is set to host its final exhibition May 9 through May 18.\u003c/p>\n\u003cfigure id=\"attachment_13957251\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07%E2%80%AFAM.png\" alt=\"Woman wearing clothes covered in different colors of paint standing in front of a studio-gallery space.\" width=\"1226\" height=\"1570\" class=\"size-full wp-image-13957251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-800x1024.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-1020x1306.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-768x983.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-1199x1536.png 1199w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith in front of Wolfe Pack Studios in downtown Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Unfinished Business\u003c/em>, a solo show of Wolfe-Goldsmith’s latest work, is a series of sandy golden-brown painted canvases, each based on a photograph of Wolfe-Goldsmith’s recent lived experiences. Those include a scene of West Oakland’s Wood Street, an image from a trip Wolfe-Goldsmith took to Morocco last year, and a silhouette of Wolfe-Goldsmith in a harness while rock climbing, made to look as if she’s flying.\u003c/p>\n\u003cp>The artwork flows beyond the borders of the canvases, with lines and shapes enveloping the entire gallery as one big continuous piece. Within that, there’s a metaphor: when the canvases come down, blank spaces will remain where the images once hung.\u003c/p>\n\u003cp>“I’m working on a story based on myself,” says Wolfe-Goldsmith of the exhibition, while sitting on a couch in her studio-gallery. She adds that the driving notion behind her latest work is “death and transition — whether that be in a spiritual form or in a real world of things changing, dying and moving into a new form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title \u003cem>Unfinished Business\u003c/em> was inspired by a 2018 fire at the \u003ca href=\"https://www.kqed.org/arts/13864120/m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire\" target=\"_blank\" rel=\"noopener\">M0xy Warehouse\u003c/a> in Oakland, in which Wolfe-Goldsmith lost all of her paintings. \u003c/p>\n\u003cp>She’s since gained recognition for her large-scale murals that span multiple stories on the exteriors of huge buildings. Her work can be seen all around downtown Oakland, as well on walls in Sacramento, Detroit and Washington D.C. “I was mostly a canvas painter at that time,” Wolfe-Goldsmith reflects about the 2018 fire. “I lost everything, and that was kind of the time where I transitioned toward mural paintings.”\u003c/p>\n\u003cfigure id=\"attachment_13957252\" class=\"wp-caption aligncenter\" style=\"max-width: 1096px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56%E2%80%AFAM.png\" alt=\"Woman with her back to the camera holds a canvas painting.\" width=\"1096\" height=\"1654\" class=\"size-full wp-image-13957252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM.png 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-1020x1539.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-768x1159.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-1018x1536.png 1018w\" sizes=\"(max-width: 1096px) 100vw, 1096px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith mounts her exhibition ‘Unfinished Business’ at Wolfe Pack Studios. \u003ccite>(Deej Letemps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to making murals, she’s been holding events at her Wolfe Pack Studios. Since \u003ca href=\"https://www.kqed.org/arts/13927149/welcome-to-wolfe-pack-studios-a-new-creative-clubhouse-in-oakland\" target=\"_blank\" rel=\"noopener\">opening in October of 2022\u003c/a>, Wolfe Pack has regularly hosted comedy showcases with \u003ca href=\"https://www.instagram.com/kinglangbang/?hl=en\">Langstyn Avery\u003c/a>, as well as events like Writer’s Block, a gathering for wordsmiths led by Deej Letemps.\u003c/p>\n\u003cp>But her fondest memory? “The feeling of standing in an idea,” Wolfe-Goldsmith says, without hesitation. Looking around her space, she adds, “It’s not just thinking about it or praying for it, it’s coming in everyday and doing a little bit, and doing a little bit more.”\u003c/p>\n\u003cp>Standing in your own idea is one thing, but seeing its impact on others takes it to the next level. “This wouldn’t be possible without everyone else,” says Wolfe-Goldsmith. “Standing in an idea, and watching other people be a part of it… Seeing that infectious creative energy take with other people — it’s really dope.”\u003c/p>\n\u003cfigure id=\"attachment_13957250\" class=\"wp-caption aligncenter\" style=\"max-width: 1232px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28%E2%80%AFAM.png\" alt=\"Woman with blue hat on paints a brown and gold image on a canvas.\" width=\"1232\" height=\"1644\" class=\"size-full wp-image-13957250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM.png 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-1151x1536.png 1151w\" sizes=\"(max-width: 1232px) 100vw, 1232px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith putting the final touches on her exhibition ‘Unfinished Business.’ \u003ccite>(Deej Letemps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s good news for anyone who’s benefited from that infectious energy: the idea isn’t ending, it’s growing.\u003c/p>\n\u003cp>Without yet going into details on what’s next for Wolfe Pack Studios, Wolfe-Goldsmith says the closure isn’t altogether bad. The idea behind the gallery-studio is moving to a bigger shared space, she explains, that will still be accessible to the public.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unfinished Business’ is on view at Wolfe Pack Studios (306 13th St., Oakland) from May 9–18. \u003ca href=\"https://www.instagram.com/p/C6cfso-PbQg/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Artist Rachel Wolfe-Goldsmith reflects on 'Unfinished Business' — and looks to the future.","status":"publish","parent":0,"modified":1715028584,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":657},"headData":{"title":"Wolfe Pack Studios’ Final Show Isn’t Bad News | KQED","description":"Artist Rachel Wolfe-Goldsmith reflects on 'Unfinished Business' — and looks to the future.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Wolfe Pack Studios’ Final Show Isn’t Bad News","datePublished":"2024-05-06T20:48:52.000Z","dateModified":"2024-05-06T20:49:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"wolfe-pack-studios-final-show-isnt-bad-news","nprStoryId":"kqed-13957242","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957242/wolfe-pack-studios-final-show-unfinished-business-rachel-wolfe-goldsmith","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even when venues close and galleries shutter, the idea that led to the creation of the space can remain; sometimes that idea can grow.\u003c/p>\n\u003cp>This is true for Oakland-based painter \u003ca href=\"https://www.instagram.com/rachelwolfepack/\" target=\"_blank\" rel=\"noopener\">Rachel Wolfe-Goldsmith,\u003c/a> whose event space, studio and gallery\u003ca href=\"https://www.instagram.com/wolfepack_studios/\" target=\"_blank\" rel=\"noopener\"> Wolfe Pack Studios\u003c/a> is set to host its final exhibition May 9 through May 18.\u003c/p>\n\u003cfigure id=\"attachment_13957251\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07%E2%80%AFAM.png\" alt=\"Woman wearing clothes covered in different colors of paint standing in front of a studio-gallery space.\" width=\"1226\" height=\"1570\" class=\"size-full wp-image-13957251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-800x1024.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-1020x1306.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-768x983.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.40.07 AM-1199x1536.png 1199w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith in front of Wolfe Pack Studios in downtown Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Unfinished Business\u003c/em>, a solo show of Wolfe-Goldsmith’s latest work, is a series of sandy golden-brown painted canvases, each based on a photograph of Wolfe-Goldsmith’s recent lived experiences. Those include a scene of West Oakland’s Wood Street, an image from a trip Wolfe-Goldsmith took to Morocco last year, and a silhouette of Wolfe-Goldsmith in a harness while rock climbing, made to look as if she’s flying.\u003c/p>\n\u003cp>The artwork flows beyond the borders of the canvases, with lines and shapes enveloping the entire gallery as one big continuous piece. Within that, there’s a metaphor: when the canvases come down, blank spaces will remain where the images once hung.\u003c/p>\n\u003cp>“I’m working on a story based on myself,” says Wolfe-Goldsmith of the exhibition, while sitting on a couch in her studio-gallery. She adds that the driving notion behind her latest work is “death and transition — whether that be in a spiritual form or in a real world of things changing, dying and moving into a new form.”\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>The title \u003cem>Unfinished Business\u003c/em> was inspired by a 2018 fire at the \u003ca href=\"https://www.kqed.org/arts/13864120/m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire\" target=\"_blank\" rel=\"noopener\">M0xy Warehouse\u003c/a> in Oakland, in which Wolfe-Goldsmith lost all of her paintings. \u003c/p>\n\u003cp>She’s since gained recognition for her large-scale murals that span multiple stories on the exteriors of huge buildings. Her work can be seen all around downtown Oakland, as well on walls in Sacramento, Detroit and Washington D.C. “I was mostly a canvas painter at that time,” Wolfe-Goldsmith reflects about the 2018 fire. “I lost everything, and that was kind of the time where I transitioned toward mural paintings.”\u003c/p>\n\u003cfigure id=\"attachment_13957252\" class=\"wp-caption aligncenter\" style=\"max-width: 1096px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56%E2%80%AFAM.png\" alt=\"Woman with her back to the camera holds a canvas painting.\" width=\"1096\" height=\"1654\" class=\"size-full wp-image-13957252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM.png 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-1020x1539.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-768x1159.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.34.56 AM-1018x1536.png 1018w\" sizes=\"(max-width: 1096px) 100vw, 1096px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith mounts her exhibition ‘Unfinished Business’ at Wolfe Pack Studios. \u003ccite>(Deej Letemps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to making murals, she’s been holding events at her Wolfe Pack Studios. Since \u003ca href=\"https://www.kqed.org/arts/13927149/welcome-to-wolfe-pack-studios-a-new-creative-clubhouse-in-oakland\" target=\"_blank\" rel=\"noopener\">opening in October of 2022\u003c/a>, Wolfe Pack has regularly hosted comedy showcases with \u003ca href=\"https://www.instagram.com/kinglangbang/?hl=en\">Langstyn Avery\u003c/a>, as well as events like Writer’s Block, a gathering for wordsmiths led by Deej Letemps.\u003c/p>\n\u003cp>But her fondest memory? “The feeling of standing in an idea,” Wolfe-Goldsmith says, without hesitation. Looking around her space, she adds, “It’s not just thinking about it or praying for it, it’s coming in everyday and doing a little bit, and doing a little bit more.”\u003c/p>\n\u003cp>Standing in your own idea is one thing, but seeing its impact on others takes it to the next level. “This wouldn’t be possible without everyone else,” says Wolfe-Goldsmith. “Standing in an idea, and watching other people be a part of it… Seeing that infectious creative energy take with other people — it’s really dope.”\u003c/p>\n\u003cfigure id=\"attachment_13957250\" class=\"wp-caption aligncenter\" style=\"max-width: 1232px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28%E2%80%AFAM.png\" alt=\"Woman with blue hat on paints a brown and gold image on a canvas.\" width=\"1232\" height=\"1644\" class=\"size-full wp-image-13957250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM.png 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-2024-05-06-at-8.35.28 AM-1151x1536.png 1151w\" sizes=\"(max-width: 1232px) 100vw, 1232px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Wolfe-Goldsmith putting the final touches on her exhibition ‘Unfinished Business.’ \u003ccite>(Deej Letemps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s good news for anyone who’s benefited from that infectious energy: the idea isn’t ending, it’s growing.\u003c/p>\n\u003cp>Without yet going into details on what’s next for Wolfe Pack Studios, Wolfe-Goldsmith says the closure isn’t altogether bad. The idea behind the gallery-studio is moving to a bigger shared space, she explains, that will still be accessible to the public.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unfinished Business’ is on view at Wolfe Pack Studios (306 13th St., Oakland) from May 9–18. \u003ca href=\"https://www.instagram.com/p/C6cfso-PbQg/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957242/wolfe-pack-studios-final-show-unfinished-business-rachel-wolfe-goldsmith","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3649","arts_1737","arts_1143","arts_585"],"featImg":"arts_13957253","label":"arts_140"},"arts_13956990":{"type":"posts","id":"arts_13956990","meta":{"index":"posts_1591205157","site":"arts","id":"13956990","score":null,"sort":[1714685513000]},"guestAuthors":[],"slug":"clare-rojas-jessica-silverman-clares-balls-review","title":"Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women","publishDate":1714685513,"format":"standard","headTitle":"Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A single painting greets visitors in the entryway of \u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare Rojas’ latest exhibition\u003c/a> at Jessica Silverman.\u003c/p>\n\u003cp>In it, a man sits in the corner booth of a diner with his legs spread wide and his elbows splayed wider. One protruding arm crumples the flowers in a nearby vase. A woman stares past him down the length of the table looking dejected, maybe a little bored. Her shoulders are hunched and her hands are in her lap. A painting on the wall above depicts a bird, contorted awkwardly, as if pressed against the glass of the frame. It seems stuck. So does she.\u003c/p>\n\u003cp>If something feels a little hackneyed about this piece, titled \u003cem>The Stallion\u003c/em> (the “manspreader” is a well-known trope at this point), head on into the gallery. You’ll find that the painting is better read as a preamble than an opening jab.\u003c/p>\n\u003cfigure id=\"attachment_13957081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg\" alt=\"painting of woman and man seated at diner booth\" width=\"2000\" height=\"1464\" class=\"size-full wp-image-13957081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘The Stallion,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rest of the show — 22 works in Rojas’ distinctive abstract figurative style, full of sharp lines and flat planes of color — plumbs the psyche of that woman bottled up at the diner. Rojas is interested in her alienation, her relationship to her body, how she must ache to breathe something fresher than the fumes wafting from her companion’s comically large coffee mug. \u003c/p>\n\u003cp>Rojas was born in Columbus, Ohio, but moved to San Francisco in the early aughts, where she became part of the \u003ca href=\"https://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a>, a group of artists working in and around the city’s Mission District. The movement engaged in a kind of renegade street art, employing non-traditional materials like spray paint, correction fluid and found objects to make folk-art inspired compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13956493']Rojas spent much of this time painting playful, stylized animals amid folksy quilt patterns, often with a feminist bent. Around 2011 she abruptly overhauled her practice, swapping the fairytale figurativism of her early work for straight abstraction. Lately, the two styles have begun to merge. \u003c/p>\n\u003cp>Several of the paintings in the present exhibition feature characters whose bodies have been partially replaced with geometric abstractions: black circles floating on alabaster backgrounds over disembodied legs, or piles of brightly colored shapes arranged to suggest supine women. Rendered with graphic precision and not a small amount of whimsy, they evoke a kind of \u003cem>Alice in Wonderland\u003c/em> discombobulation. \u003c/p>\n\u003cfigure id=\"attachment_13957120\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg\" alt=\"painting of figure balancing on three spheres at edge of sea cliff\" width=\"2000\" height=\"1796\" class=\"size-full wp-image-13957120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1536x1379.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1920x1724.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘Night Rocks,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other paintings depict women alone in sprawling picturesque landscapes. In \u003cem>Night Rocks\u003c/em>, a woman wanders a cliffside plateau overlooking a swirling black-blue ocean. In \u003cem>Ducks in a Row\u003c/em>, a lone figure sits along the bank of a pale blue lake, nestled between two majestic trees — one bare down to its capillary branches, the other just beginning to shed. The women are painted with their backs to us and at a distance, giving the compositions a protective quality, as if to say: \u003cem>let them not be disturbed\u003c/em>.\u003c/p>\n\u003cp>Somewhat perplexingly, Rojas has titled the exhibition \u003cem>Clare’s Balls\u003c/em>. This literally refers to a recurring motif in the show of solid-colored circles and spheres, which substitute for eyes, moons, heads, bodies and voids. But the name promises an irreverence better suited to the artist’s earlier work — and her penchant for tongue-in-cheek male nudes — than to the actual paintings on display. \u003c/p>\n\u003cp>Rather than irreverence, Rojas’ show evinces an almost tragic yearning. It is full of women anxious to locate themselves within that diner booth, seeking or savoring respite from \u003cem>The Stallion\u003c/em>’s suffocating encroachment. \u003c/p>\n\u003cfigure id=\"attachment_13957119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg\" alt=\"White-walled gallery with one large and three smaller paintings hanging\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13957119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Clare’s Balls’ at Jessica Silverman. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their malaise produces fantasies, like the red-faced, seafoam-haired woman who roams an otherworldly wild in \u003cem>Blue Boot Bonnie\u003c/em>. And it produces horrors, like the pair of disembodied arms raising eyeballs to a nonexistent head in \u003cem>I Can’t Believe My Eyes\u003c/em>. Birds, those symbols of flight, abound. The longing is palpable even in Rojas’ technique, like how she layers a milky autumnal red over a patchwork of cornflower and lime green in the one lush tree from \u003cem>Ducks in a Row\u003c/em>. The undertones peek out from between brushstrokes, giving the mixture a dazzling richness. You want to submerge yourself in its blaze. You should.\u003c/p>\n\u003cp>This is the real achievement of Rojas’ show: not its balls, but its empathy. Her paintings reflect an insistence on considering the interior life of that woman in the diner — a richer and more interesting project than simply condemning the treatment she endures. The show reminds us that it is possible, when making political art, to make our discontent a means, not an end. In Rojas’ case, it becomes a prism through which to refract herself, 20 times over.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare’s Balls\u003c/a>’ is on view at Jessica Silverman (621 Grant Ave., San Francisco) through June 1, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In her solo show at Jessica Silverman, the artist places women in fantastical landscapes and scenarios.","status":"publish","parent":0,"modified":1714688757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":865},"headData":{"title":"Clare Rojas at Jessica Silverman: Women’s Fantastical Inner Lives | KQED","description":"In her solo show at Jessica Silverman, the artist places women in fantastical landscapes and scenarios.","ogTitle":"Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women","ogDescription":"","ogImgId":"","twTitle":"Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women","twDescription":"","twImgId":"","socialTitle":"Clare Rojas at Jessica Silverman: Women’s Fantastical Inner Lives %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women","datePublished":"2024-05-02T21:31:53.000Z","dateModified":"2024-05-02T22:25:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Champe Barton","nprStoryId":"kqed-13956990","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956990/clare-rojas-jessica-silverman-clares-balls-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A single painting greets visitors in the entryway of \u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare Rojas’ latest exhibition\u003c/a> at Jessica Silverman.\u003c/p>\n\u003cp>In it, a man sits in the corner booth of a diner with his legs spread wide and his elbows splayed wider. One protruding arm crumples the flowers in a nearby vase. A woman stares past him down the length of the table looking dejected, maybe a little bored. Her shoulders are hunched and her hands are in her lap. A painting on the wall above depicts a bird, contorted awkwardly, as if pressed against the glass of the frame. It seems stuck. So does she.\u003c/p>\n\u003cp>If something feels a little hackneyed about this piece, titled \u003cem>The Stallion\u003c/em> (the “manspreader” is a well-known trope at this point), head on into the gallery. You’ll find that the painting is better read as a preamble than an opening jab.\u003c/p>\n\u003cfigure id=\"attachment_13957081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg\" alt=\"painting of woman and man seated at diner booth\" width=\"2000\" height=\"1464\" class=\"size-full wp-image-13957081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘The Stallion,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rest of the show — 22 works in Rojas’ distinctive abstract figurative style, full of sharp lines and flat planes of color — plumbs the psyche of that woman bottled up at the diner. Rojas is interested in her alienation, her relationship to her body, how she must ache to breathe something fresher than the fumes wafting from her companion’s comically large coffee mug. \u003c/p>\n\u003cp>Rojas was born in Columbus, Ohio, but moved to San Francisco in the early aughts, where she became part of the \u003ca href=\"https://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a>, a group of artists working in and around the city’s Mission District. The movement engaged in a kind of renegade street art, employing non-traditional materials like spray paint, correction fluid and found objects to make folk-art inspired compositions.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956493","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rojas spent much of this time painting playful, stylized animals amid folksy quilt patterns, often with a feminist bent. Around 2011 she abruptly overhauled her practice, swapping the fairytale figurativism of her early work for straight abstraction. Lately, the two styles have begun to merge. \u003c/p>\n\u003cp>Several of the paintings in the present exhibition feature characters whose bodies have been partially replaced with geometric abstractions: black circles floating on alabaster backgrounds over disembodied legs, or piles of brightly colored shapes arranged to suggest supine women. Rendered with graphic precision and not a small amount of whimsy, they evoke a kind of \u003cem>Alice in Wonderland\u003c/em> discombobulation. \u003c/p>\n\u003cfigure id=\"attachment_13957120\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg\" alt=\"painting of figure balancing on three spheres at edge of sea cliff\" width=\"2000\" height=\"1796\" class=\"size-full wp-image-13957120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1536x1379.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1920x1724.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘Night Rocks,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other paintings depict women alone in sprawling picturesque landscapes. In \u003cem>Night Rocks\u003c/em>, a woman wanders a cliffside plateau overlooking a swirling black-blue ocean. In \u003cem>Ducks in a Row\u003c/em>, a lone figure sits along the bank of a pale blue lake, nestled between two majestic trees — one bare down to its capillary branches, the other just beginning to shed. The women are painted with their backs to us and at a distance, giving the compositions a protective quality, as if to say: \u003cem>let them not be disturbed\u003c/em>.\u003c/p>\n\u003cp>Somewhat perplexingly, Rojas has titled the exhibition \u003cem>Clare’s Balls\u003c/em>. This literally refers to a recurring motif in the show of solid-colored circles and spheres, which substitute for eyes, moons, heads, bodies and voids. But the name promises an irreverence better suited to the artist’s earlier work — and her penchant for tongue-in-cheek male nudes — than to the actual paintings on display. \u003c/p>\n\u003cp>Rather than irreverence, Rojas’ show evinces an almost tragic yearning. It is full of women anxious to locate themselves within that diner booth, seeking or savoring respite from \u003cem>The Stallion\u003c/em>’s suffocating encroachment. \u003c/p>\n\u003cfigure id=\"attachment_13957119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg\" alt=\"White-walled gallery with one large and three smaller paintings hanging\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13957119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Clare’s Balls’ at Jessica Silverman. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their malaise produces fantasies, like the red-faced, seafoam-haired woman who roams an otherworldly wild in \u003cem>Blue Boot Bonnie\u003c/em>. And it produces horrors, like the pair of disembodied arms raising eyeballs to a nonexistent head in \u003cem>I Can’t Believe My Eyes\u003c/em>. Birds, those symbols of flight, abound. The longing is palpable even in Rojas’ technique, like how she layers a milky autumnal red over a patchwork of cornflower and lime green in the one lush tree from \u003cem>Ducks in a Row\u003c/em>. The undertones peek out from between brushstrokes, giving the mixture a dazzling richness. You want to submerge yourself in its blaze. You should.\u003c/p>\n\u003cp>This is the real achievement of Rojas’ show: not its balls, but its empathy. Her paintings reflect an insistence on considering the interior life of that woman in the diner — a richer and more interesting project than simply condemning the treatment she endures. The show reminds us that it is possible, when making political art, to make our discontent a means, not an end. In Rojas’ case, it becomes a prism through which to refract herself, 20 times over.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare’s Balls\u003c/a>’ is on view at Jessica Silverman (621 Grant Ave., San Francisco) through June 1, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956990/clare-rojas-jessica-silverman-clares-balls-review","authors":["byline_arts_13956990"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_769","arts_585"],"featImg":"arts_13957127","label":"arts_140"},"arts_13956979":{"type":"posts","id":"arts_13956979","meta":{"index":"posts_1591205157","site":"arts","id":"13956979","score":null,"sort":[1714670010000]},"guestAuthors":[],"slug":"art-of-noise-sfmoma-music-fillmore-stereo-review","title":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","publishDate":1714670010,"format":"standard","headTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","status":"publish","parent":0,"modified":1714847779,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":979},"headData":{"title":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways | KQED","description":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","ogTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","ogDescription":"","ogImgId":"","twTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","twDescription":"","twImgId":"","socialTitle":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","datePublished":"2024-05-02T17:13:30.000Z","dateModified":"2024-05-04T18:36:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956979","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13414955","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\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>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_10278","arts_1806","arts_831","arts_1420","arts_769","arts_22122","arts_1146","arts_1381","arts_585"],"featImg":"arts_13957027","label":"arts_140"},"arts_13956615":{"type":"posts","id":"arts_13956615","meta":{"index":"posts_1591205157","site":"arts","id":"13956615","score":null,"sort":[1714072236000]},"guestAuthors":[],"slug":"east-bay-street-photographers-want-you-to-take-notice","title":"East Bay Street Photographers Want You to Take ‘Notice’","publishDate":1714072236,"format":"standard","headTitle":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demondre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","status":"publish","parent":0,"modified":1714504337,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":530},"headData":{"title":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","description":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"East Bay Street Photographers Want You to Take ‘Notice’","datePublished":"2024-04-25T19:10:36.000Z","dateModified":"2024-04-30T19:12:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956615","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demondre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\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>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_820","arts_11374","arts_8167","arts_10278","arts_1143","arts_822","arts_585"],"featImg":"arts_13956621","label":"arts_140"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","score":null,"sort":[1713983603000]},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\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>[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":1714494975,"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":"2024-04-30T16:36:15.000Z","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_10342","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"}},"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. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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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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