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event.\u003c/p>\n\u003cp>Nicknamed “Hot Pot Time Machine” by associate communications director Zac Rose, the exhibit showcases over 150 artifacts from the Zhou Dynasty, all found in the tombs of the nobility.\u003c/p>\n\u003cp>Many of the tombs found in modern day Hubei province in central China were waterlogged by lakes and rivers, which will have you thinking, “Looks pretty good for a 2,000-year-old conjoined-pig food container.” Apparently, water submersion — and the absence of oxygen — was just what the doctor ordered for ancient, lacquered wood.\u003c/p>\n\u003cfigure id=\"attachment_13956280\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs.jpg\" alt=\"Lidded box in the shape of conjoined pigs, made of laquered wood.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food container in the shape of conjoined pigs, from China’s Warring States period (approximately 340 BCE). \u003ccite>(Jingzhou Municipal Museum, courtesy of the Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove paints a picture of the lives of the rich and powerful in two vassal states known as Chu and Zeng, said museum curator Fan Jeremy Zhang during a tour of the exhibit. The two had an ongoing rivalry during the Warring States period in China, which lasted from around 475 BCE to 221 BCE.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955953,arts_13956218']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Evidently, the affluent dead in Chu and Zeng kept the party going in the next world with plenty of food and alcohol. According to Zhang, some researchers believe a contributing factor to the fall of the earlier Shang Dynasty was excessive partying and drinking — not from the alcohol, which was pretty low proof in pre-distillation times, but from the lead in the bronze drinking vessels. Not unlike those found throughout the exhibit.\u003c/p>\n\u003cp>“There are records that their parties lasted for days,” said Zhang.\u003c/p>\n\u003cp>In the belly of the exhibit, there are rows of wine vessels shaped like gourds, others adorned with dragons, buffalo and phoenixes — a common motif that gives the collection its name. There are food storage containers shaped like ducks and personal-sized cauldrons that would have heated meat-heavy dishes for individual nobles.\u003c/p>\n\u003cfigure id=\"attachment_13956278\" class=\"wp-caption alignnone\" style=\"max-width: 1916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956278\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-%C2%A9-Suizhou-Municipal-Museum-scaled.jpg\" alt=\"Green ancient Chinese wine vessel with dragon carving.\" width=\"1916\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-scaled.jpg 1916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-800x1069.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1020x1363.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-768x1026.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1150x1536.jpg 1150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1533x2048.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1920x2565.jpg 1920w\" sizes=\"(max-width: 1916px) 100vw, 1916px\">\u003cfigcaption class=\"wp-caption-text\">A wine vessel from approximately 1000 BCE, carved to resemble a dragon. \u003ccite>(Suizhou Municipal Museum, courtesy of the Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Phoenix Kingdoms\u003c/i> also features ceremonial musical instruments, weapons, clothing and jade carvings. But the highlights are the ornate cookware, which allows viewers to imagine steaming cauldrons of lamb and condensating vats of chilled wine — which was actually more like millet ale or pre-beer, said Zhang.\u003c/p>\n\u003cp>The gallery opens through a curtain of floor to ceiling tassels and ends with a broad, orange light panel like a digital sunrise.\u003c/p>\n\u003cp>“At the end you emerge in the modern world,” museum director Xu said, as we completed the tour. “Where it’s bright and sunny.”\u003c/p>\n\u003cp>And where you can go in search of more modern hot pot and wine — hold the lead.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/phoenix-kingdoms/\">Phoenix Kingdoms\u003c/a>\u003ci> is on view at the Asian Art Museum (200 Larkin St., San Francisco) from April 19 to July 22.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Phoenix Kingdoms’ puts a spotlight on ancient Chinese cookware and other ceremonial antiquities.","status":"publish","parent":0,"modified":1713556361,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":566},"headData":{"title":"Ancient Chinese Cooking Vessels Star in Asian Art Museum Exhibit in SF | KQED","description":"‘Phoenix Kingdoms’ puts a spotlight on ancient Chinese cookware and other ceremonial antiquities.","ogTitle":"2,000-Year-Old Meat Cauldrons Star in the Asian Art Museum's Newest Exhibit","ogDescription":"","ogImgId":"","twTitle":"2,000-Year-Old Meat Cauldrons Star in the Asian Art Museum's Newest Exhibit","twDescription":"","twImgId":"","socialTitle":"Ancient Chinese Cooking Vessels Star in Asian Art Museum Exhibit in SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"2,000-Year-Old Meat Cauldrons Star in the Asian Art Museum's Newest Exhibit","datePublished":"2024-04-19T19:49:31.000Z","dateModified":"2024-04-19T19:52:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956274/asian-art-museum-phoenix-kingdoms-ancient-chinese-cooking-wine-vessels","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wine cooler, a five-pound gold cup and a whole lot of cauldrons are a few of the ancient items you can find at the Asian Art Museum’s new \u003ci>Phoenix Kingdoms\u003c/i> exhibit, which is open to the public from April 19 to July 22.\u003c/p>\n\u003cp>“At the beginning of the exhibit you seem to be going into a crack in time — a time tunnel — transporting you to the ancient world,” museum director Jay Xu said at a recent preview event.\u003c/p>\n\u003cp>Nicknamed “Hot Pot Time Machine” by associate communications director Zac Rose, the exhibit showcases over 150 artifacts from the Zhou Dynasty, all found in the tombs of the nobility.\u003c/p>\n\u003cp>Many of the tombs found in modern day Hubei province in central China were waterlogged by lakes and rivers, which will have you thinking, “Looks pretty good for a 2,000-year-old conjoined-pig food container.” Apparently, water submersion — and the absence of oxygen — was just what the doctor ordered for ancient, lacquered wood.\u003c/p>\n\u003cfigure id=\"attachment_13956280\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs.jpg\" alt=\"Lidded box in the shape of conjoined pigs, made of laquered wood.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lidded-box-in-the-shape-of-conjoined-pigs-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food container in the shape of conjoined pigs, from China’s Warring States period (approximately 340 BCE). \u003ccite>(Jingzhou Municipal Museum, courtesy of the Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trove paints a picture of the lives of the rich and powerful in two vassal states known as Chu and Zeng, said museum curator Fan Jeremy Zhang during a tour of the exhibit. The two had an ongoing rivalry during the Warring States period in China, which lasted from around 475 BCE to 221 BCE.\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>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955953,arts_13956218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Evidently, the affluent dead in Chu and Zeng kept the party going in the next world with plenty of food and alcohol. According to Zhang, some researchers believe a contributing factor to the fall of the earlier Shang Dynasty was excessive partying and drinking — not from the alcohol, which was pretty low proof in pre-distillation times, but from the lead in the bronze drinking vessels. Not unlike those found throughout the exhibit.\u003c/p>\n\u003cp>“There are records that their parties lasted for days,” said Zhang.\u003c/p>\n\u003cp>In the belly of the exhibit, there are rows of wine vessels shaped like gourds, others adorned with dragons, buffalo and phoenixes — a common motif that gives the collection its name. There are food storage containers shaped like ducks and personal-sized cauldrons that would have heated meat-heavy dishes for individual nobles.\u003c/p>\n\u003cfigure id=\"attachment_13956278\" class=\"wp-caption alignnone\" style=\"max-width: 1916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956278\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-%C2%A9-Suizhou-Municipal-Museum-scaled.jpg\" alt=\"Green ancient Chinese wine vessel with dragon carving.\" width=\"1916\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-scaled.jpg 1916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-800x1069.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1020x1363.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-768x1026.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1150x1536.jpg 1150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1533x2048.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lei-wine-vessel-with-dragon-Overall_Zhang-Western-Zhou-period-ca.-1050-771-BCE-approx.-1000-BCE-Excavated-from-Zeng-tomb-no.-111-at-Yejiashan-Suizhou-2011-©-Suizhou-Municipal-Museum-1920x2565.jpg 1920w\" sizes=\"(max-width: 1916px) 100vw, 1916px\">\u003cfigcaption class=\"wp-caption-text\">A wine vessel from approximately 1000 BCE, carved to resemble a dragon. \u003ccite>(Suizhou Municipal Museum, courtesy of the Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Phoenix Kingdoms\u003c/i> also features ceremonial musical instruments, weapons, clothing and jade carvings. But the highlights are the ornate cookware, which allows viewers to imagine steaming cauldrons of lamb and condensating vats of chilled wine — which was actually more like millet ale or pre-beer, said Zhang.\u003c/p>\n\u003cp>The gallery opens through a curtain of floor to ceiling tassels and ends with a broad, orange light panel like a digital sunrise.\u003c/p>\n\u003cp>“At the end you emerge in the modern world,” museum director Xu said, as we completed the tour. “Where it’s bright and sunny.”\u003c/p>\n\u003cp>And where you can go in search of more modern hot pot and wine — hold the lead.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/phoenix-kingdoms/\">Phoenix Kingdoms\u003c/a>\u003ci> is on view at the Asian Art Museum (200 Larkin St., San Francisco) from April 19 to July 22.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956274/asian-art-museum-phoenix-kingdoms-ancient-chinese-cooking-wine-vessels","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_2250","arts_5391","arts_1297","arts_1146","arts_585"],"featImg":"arts_13956279","label":"source_arts_13956274"},"arts_13938446":{"type":"posts","id":"arts_13938446","meta":{"index":"posts_1591205157","site":"arts","id":"13938446","score":null,"sort":[1700698332000]},"guestAuthors":[],"slug":"the-heart-of-zen-persimmons-chestnuts-asian-art-museum","title":"A Rare Glimpse of an 800-Year-Old Painting of Persimmons","publishDate":1700698332,"format":"standard","headTitle":"A Rare Glimpse of an 800-Year-Old Painting of Persimmons | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At the center of the Asian Art Museum, the gallery featuring \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/the-heart-of-zen/\">The Heart of Zen\u003c/a>\u003c/i> has transformed into a low-lit, contemplative space divided by a winding path of shoji walls. The hushed ambiance immediately conveys the rarity of the situation: an opportunity to view the ink paintings \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i>, both attributed to the 13th-century Chinese monk Muqi, which have made their first (and possibly only) trip outside of Japan since they were imported from China.\u003c/p>\n\u003cp>The paintings, which were likely cut from the same handscroll and remounted separately as hanging scrolls, will be on view for just three weeks each (with one overlapping period, Dec. 8–10), due to their delicacy and light sensitivity.\u003c/p>\n\u003cfigure id=\"attachment_13938458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/PersimmonsChestnuts_2000.jpg\" alt=\"Two ink paintings in fabric borders; left of six persimmons of varying shapes and colors, right of a branch with leaves and chestnuts\" width=\"2000\" height=\"1464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Details of ‘Persimmons’ (left) and ‘Chestnuts’ (right), both attributed to Muqi; from the collection of Daitokuji Ryokoin Temple and designated as Important Cultural Property by the Japanese government. \u003ccite>(© Kyoto National Museum, Okada Ai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of how these paintings came to San Francisco from Daitokuji Ryokoin, a Zen Buddhist temple in Kyoto, begins with a 2017 visit to the museum from Abbot Kobori Geppo, who initiated the loan. In exhibition wall text, the abbot explains the rationale for \u003ci>The Heart of Zen\u003c/i>, the show that ultimately materialized after years of pandemic delays: “My wish is to bring even a fragment of / pure, transparent air from Ryokoin / In times of joy or sorrow, / In the world of tranquility and chaos / Or in the midst of peace or war / We [monks at Ryokoin] are living right in the center of Zen, from morning to the night.”\u003c/p>\n\u003cp>Some of that pure, transparent air is visible in a photo slideshow that projects on a gallery wall, providing images of life at the temple and of \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i> in situ, during a rare moment of display. For museum curators Laura Allen and Yuki Morishima, this exhibition provides an opportunity to reexamine the enormous legacy of these paintings, which have been identified, especially by 20th-century Western scholars, as “preeminent examples of Zen artworks.”\u003c/p>\n\u003cp>The 1922 book \u003ci>Zen Buddhism and Its Relationship to the Arts\u003c/i> by the British writer and translator Arthur Waley (who never traveled to Japan or China himself) was the first of many Western texts that connected \u003ci>Persimmons\u003c/i> with a state of spiritual awareness. Over decades, the painting became a visual metaphor for “Emptiness.”\u003c/p>\n\u003cfigure id=\"attachment_13938459\" class=\"wp-caption aligncenter\" style=\"max-width: 2170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-%C2%A9-T.Minamoto.png\" alt=\"Man in robe walks down stone path under gateway, lush trees surrounding\" width=\"2170\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto.png 2170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-2048x1365.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1920x1279.png 1920w\" sizes=\"(max-width: 2170px) 100vw, 2170px\">\u003cfigcaption class=\"wp-caption-text\">A Ryokoin abbot walking to the monthly ritual at Daitokuji Temple, Kyoto, 2019. \u003ccite>(© T.Minamoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But more recent scholarship has engaged with the still lifes’ historic and contemporary role in Zen monastic life, where they exist alongside other decorative and functional objects, like priest portraits and tea wares. As the exhibition’s wall text states, “We have moved beyond the notion that minimalist compositions, monochrome ink and spontaneity mirror the ‘Zen mind.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Removed from their longtime home at the temple (and more recent home in the climate control of the Kyoto National Museum) and temporarily housed within the Asian Art Museum, \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i> will now form new connections with new audiences. Even those who haven’t grown up thinking of \u003ci>Persimmons\u003c/i> as the “Zen Mona Lisa” can absorb the gravity — and generosity — of this once-in-a-lifetime visit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Heart of Zen’ is on view at the Asian Art Museum through Dec. 31. ‘Persimmons’ will hang through Dec. 10 and ‘Chestnuts’ will hang Dec. 8–31. Click here for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/the-heart-of-zen/\">more information about tickets and accompanying public events\u003c/a>, including a Dec. 9 talk with Abbot Kobori Geppo.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Asian Art Museum’s ‘The Heart of Zen’ is the first display, outside Japan, of two renowned ink paintings.","status":"publish","parent":0,"modified":1705003058,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":610},"headData":{"title":"‘The Heart of Zen’ at Asian Art Museum: A Once-In-a-Lifetime Visit | KQED","description":"The Asian Art Museum’s ‘The Heart of Zen’ is the first display, outside Japan, of two renowned ink paintings.","ogTitle":"A Rare Glimpse of an 800-Year-Old Painting of Persimmons","ogDescription":"","ogImgId":"","twTitle":"A Rare Glimpse of an 800-Year-Old Painting of Persimmons","twDescription":"","twImgId":"","socialTitle":"‘The Heart of Zen’ at Asian Art Museum: A Once-In-a-Lifetime Visit %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Rare Glimpse of an 800-Year-Old Painting of Persimmons","datePublished":"2023-11-23T00:12:12.000Z","dateModified":"2024-01-11T19:57:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938446/the-heart-of-zen-persimmons-chestnuts-asian-art-museum","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the center of the Asian Art Museum, the gallery featuring \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/the-heart-of-zen/\">The Heart of Zen\u003c/a>\u003c/i> has transformed into a low-lit, contemplative space divided by a winding path of shoji walls. The hushed ambiance immediately conveys the rarity of the situation: an opportunity to view the ink paintings \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i>, both attributed to the 13th-century Chinese monk Muqi, which have made their first (and possibly only) trip outside of Japan since they were imported from China.\u003c/p>\n\u003cp>The paintings, which were likely cut from the same handscroll and remounted separately as hanging scrolls, will be on view for just three weeks each (with one overlapping period, Dec. 8–10), due to their delicacy and light sensitivity.\u003c/p>\n\u003cfigure id=\"attachment_13938458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/PersimmonsChestnuts_2000.jpg\" alt=\"Two ink paintings in fabric borders; left of six persimmons of varying shapes and colors, right of a branch with leaves and chestnuts\" width=\"2000\" height=\"1464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/PersimmonsChestnuts_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Details of ‘Persimmons’ (left) and ‘Chestnuts’ (right), both attributed to Muqi; from the collection of Daitokuji Ryokoin Temple and designated as Important Cultural Property by the Japanese government. \u003ccite>(© Kyoto National Museum, Okada Ai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of how these paintings came to San Francisco from Daitokuji Ryokoin, a Zen Buddhist temple in Kyoto, begins with a 2017 visit to the museum from Abbot Kobori Geppo, who initiated the loan. In exhibition wall text, the abbot explains the rationale for \u003ci>The Heart of Zen\u003c/i>, the show that ultimately materialized after years of pandemic delays: “My wish is to bring even a fragment of / pure, transparent air from Ryokoin / In times of joy or sorrow, / In the world of tranquility and chaos / Or in the midst of peace or war / We [monks at Ryokoin] are living right in the center of Zen, from morning to the night.”\u003c/p>\n\u003cp>Some of that pure, transparent air is visible in a photo slideshow that projects on a gallery wall, providing images of life at the temple and of \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i> in situ, during a rare moment of display. For museum curators Laura Allen and Yuki Morishima, this exhibition provides an opportunity to reexamine the enormous legacy of these paintings, which have been identified, especially by 20th-century Western scholars, as “preeminent examples of Zen artworks.”\u003c/p>\n\u003cp>The 1922 book \u003ci>Zen Buddhism and Its Relationship to the Arts\u003c/i> by the British writer and translator Arthur Waley (who never traveled to Japan or China himself) was the first of many Western texts that connected \u003ci>Persimmons\u003c/i> with a state of spiritual awareness. Over decades, the painting became a visual metaphor for “Emptiness.”\u003c/p>\n\u003cfigure id=\"attachment_13938459\" class=\"wp-caption aligncenter\" style=\"max-width: 2170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-%C2%A9-T.Minamoto.png\" alt=\"Man in robe walks down stone path under gateway, lush trees surrounding\" width=\"2170\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto.png 2170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-2048x1365.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ryokoin-abbot-walking-to-the-monthly-ritual-at-Daitokuji-temple-Kyoto-2019.-Photograph-©-T.Minamoto-1920x1279.png 1920w\" sizes=\"(max-width: 2170px) 100vw, 2170px\">\u003cfigcaption class=\"wp-caption-text\">A Ryokoin abbot walking to the monthly ritual at Daitokuji Temple, Kyoto, 2019. \u003ccite>(© T.Minamoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But more recent scholarship has engaged with the still lifes’ historic and contemporary role in Zen monastic life, where they exist alongside other decorative and functional objects, like priest portraits and tea wares. As the exhibition’s wall text states, “We have moved beyond the notion that minimalist compositions, monochrome ink and spontaneity mirror the ‘Zen mind.’”\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>Removed from their longtime home at the temple (and more recent home in the climate control of the Kyoto National Museum) and temporarily housed within the Asian Art Museum, \u003ci>Persimmons\u003c/i> and \u003ci>Chestnuts\u003c/i> will now form new connections with new audiences. Even those who haven’t grown up thinking of \u003ci>Persimmons\u003c/i> as the “Zen Mona Lisa” can absorb the gravity — and generosity — of this once-in-a-lifetime visit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Heart of Zen’ is on view at the Asian Art Museum through Dec. 31. ‘Persimmons’ will hang through Dec. 10 and ‘Chestnuts’ will hang Dec. 8–31. Click here for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/the-heart-of-zen/\">more information about tickets and accompanying public events\u003c/a>, including a Dec. 9 talk with Abbot Kobori Geppo.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938446/the-heart-of-zen-persimmons-chestnuts-asian-art-museum","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2250","arts_585","arts_901"],"featImg":"arts_13938463","label":"arts_140"},"arts_13929082":{"type":"posts","id":"arts_13929082","meta":{"index":"posts_1591205157","site":"arts","id":"13929082","score":null,"sort":[1684771227000]},"guestAuthors":[],"slug":"visual-art-summer-guide-2023-sf-bay-area","title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","publishDate":1684771227,"format":"aside","headTitle":"Your Guide to the Bay Area’s Best Art Exhibitions This Summer | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>[aside postID='arts_13924661']Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n","blocks":[],"excerpt":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","status":"publish","parent":0,"modified":1705005474,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1623},"headData":{"title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer | KQED","description":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","datePublished":"2023-05-22T16:00:27.000Z","dateModified":"2024-01-11T20:37:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924661","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\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>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2250","arts_10342","arts_2483","arts_10278","arts_3649","arts_1006","arts_6376","arts_2755","arts_1187","arts_1381","arts_20565","arts_585"],"featImg":"arts_13929092","label":"source_arts_13929082"},"arts_13921755":{"type":"posts","id":"arts_13921755","meta":{"index":"posts_1591205157","site":"arts","id":"13921755","score":null,"sort":[1668720872000]},"guestAuthors":[],"slug":"in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","title":"In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future","publishDate":1668720872,"format":"standard","headTitle":"In Asian Art Museum’s Cyberpunk Exhibition, an Ancient Poet Navigates the Future | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"With 'Warring States Cyberpunk,' artist and animator Kongkee melds past and future, nostalgia and fantasy.","status":"publish","parent":0,"modified":1705006145,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":609},"headData":{"title":"In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future | KQED","description":"With 'Warring States Cyberpunk,' artist and animator Kongkee melds past and future, nostalgia and fantasy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future","datePublished":"2022-11-17T21:34:32.000Z","dateModified":"2024-01-11T20:49:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921755/in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\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>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921755/in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2250","arts_10278","arts_913","arts_1334","arts_585","arts_699","arts_901"],"featImg":"arts_13921765","label":"arts_140"},"arts_13919898":{"type":"posts","id":"arts_13919898","meta":{"index":"posts_1591205157","site":"arts","id":"13919898","score":null,"sort":[1664561888000]},"guestAuthors":[],"slug":"how-one-filipino-american-artist-influenced-the-work-of-a-generation-of-others","title":"How One Filipino American Artist Influenced the Work of a Generation of Others","publishDate":1664561888,"format":"standard","headTitle":"How One Filipino American Artist Influenced the Work of a Generation of Others | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>In 1958, when the late Filipino American artist Carlos Villa was studying at the California School of Fine Arts, he asked one of his teachers where he could learn about other Filipino art.\u003c/p>\n\u003cp>“His teacher said to him \u003cem>there isn’t any\u003c/em>,” said Mark Johnson, co-curator of \u003cem>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Villa: Worlds in Collision\u003c/a>\u003c/em>, a retrospective of Villa’s work at the Asian Art Museum of San Francisco.\u003c/p>\n\u003cp>That response inspired Villa to go beyond his own art, and make it his mission to help other artists of color.\u003c/p>\n\u003cp>“His whole career was trying to focus on filling in that story both for himself and for artists in the future,” said Johnson.\u003c/p>\n\u003cfigure id=\"attachment_13919900\" class=\"wp-caption aligncenter\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png\" alt=\"A Filipino American man dressed in black pants and hoodie sits low to the ground on the edge of a surreal sculpture. \" width=\"436\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989-160x136.png 160w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Carlos Villa in his studio, 1985. \u003ccite>(Patricia Arian/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villa died in 2013, but his legacy continues. As a professor at the San Francisco Art Institute for four decades and a powerful community organizer and mentor, Villa had an outsize impact on dozens of younger artists. His students included Obama portraitist Kehinde Wiley and Mission School art pioneer Barry McGee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Villa devoted his career to uplifting others, but now he is getting his due as an artist in his own right: The exhibition at the Asian Art Museum is the first in the country to give a Filipino American artist a major retrospective.\u003c/p>\n\u003cp>It includes the artist’s paintings and installations, many of which explore multiculturalism, decolonization and Filipino identity, like his resplendent feathered capes, evoking both the vestments of Villa’s Catholic youth in San Francisco and robes worn by the Hawaiian aristocracy. A \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" target=\"_blank\" rel=\"noopener noreferrer\">companion exhibition\u003c/a> at the San Francisco Arts Commission features his later works, and an earlier iteration, which included both shows, closed at the Newark Museum of Art in May.\u003c/p>\n\u003cfigure id=\"attachment_13919907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png\" alt=\"\" width=\"800\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1020x450.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-768x339.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1536x677.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-2048x903.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1920x847.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Carlos Villa’s feathered capes, on view in the exhibition. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Asian Art Museum show also features pieces by his protégés. For example, a vintage motorcycle and side-car—a typical way Filipinos get around—tricked-out with sparkly lights, bright pom-poms and a karaoke machine, created by two former students, Filipino Americans Michael Arcega and Paolo Asuncion.\u003c/p>\n\u003cp>[aside postid='arts_13919683']Sometimes the motorcycle tools around the Bay Area. But behind the fun is a serious political message about making space for Filipino American voices. “We want to signal that we are around and present,” Arcega said.\u003c/p>\n\u003cp>Arcega said this use of art as \u003cem>literally \u003c/em>a vehicle for increasing Filipino visibility was inspired by Villa, who thought street life should be an inspiration for art.\u003c/p>\n\u003cfigure id=\"attachment_13919908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM.png 1492w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘TNT Traysikel’—a tricked-out motorcycle side-car installation by artists Paolo Asuncion and Michael Arcega on display at the Asian Art Museum. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came into visual arts through graffiti art and have kind of carried that pride because of Carlos to this project,” Arcega said.\u003c/p>\n\u003cp>New York-based Filipino American artist Paul Pfeiffer also studied with Villa. He said his mentor worked to increase the visibility of artists of color in the white-dominated art world by organizing a slew of landmark conferences starting in the 1970s.\u003c/p>\n\u003cp>[aside postid='arts_13812554']Those conferences changed his life. “It felt like the first time that I was seeing a kind of conversation about art and art history that felt like it included me,” Pfeiffer said.\u003c/p>\n\u003cp>Today, Pfeiffer is an internationally-recognized political artist with work in the collection of New York’s Guggenheim Museum.\u003c/p>\n\u003cp>His video installation in the exhibit shows a boxing match in which one of the contenders—prize-fighter-turned-politician Manny Pacquiao—faces off against an opponent whose presence on screen has been erased by the artist. The piece explores the Filipino body under assault, fighting invisible forces.\u003c/p>\n\u003cp>Pfeiffer said Villa helped to shape his political awakening. “He opened the door,” Pfeiffer said. “He clued me into it.”\u003c/p>\n\u003cfigure id=\"attachment_13919909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png\" alt=\"Lilac curtains on a back wall frame lilac oblong boxes with small sculptures on and TV screens showing yellow humanoid figures at a dinner table, taken at different angles.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-1020x654.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mail Order Brides’ installation at the Asian Art Museum, ‘Chatsilog Revisited.’ \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reanne Estrada, an artist in Los Angeles, said another of Villa’s superpowers was bringing young artists together. “He exposed me to a different way of thinking about how to be an artist,” Estrada said. “How you connect with other people.”\u003c/p>\n\u003cp>[aside postid='arts_13916517']Estrada is part of the surrealist art collective Mail Order Brides. She said the Brides came into being nearly 30 years ago when Villa introduced her to fellow Filipina Americans Eliza Barrios and Jenifer Wofford.\u003c/p>\n\u003cp>The Brides’ multimedia installation in the exhibition playfully pays tribute to their mentor. Villa’s face beams from a video screen, as footage on nearby screens shows Estrada, Barrios and Wofford bumbling around a kitchen making the traditional Filipino breakfast dish silog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even after decades of working together, we’re still a bunch of slightly wacky ladies wearing granny panties and egg aprons,” Estrada said. “Carlos would be proud to know some things don’t change.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+Filipino+American+artist+influenced+the+work+of+a+generation+of+others&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"When Carlos Villa asked about Filipino artists as a student, he was told there weren't any.","status":"publish","parent":0,"modified":1705006316,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":876},"headData":{"title":"How One Filipino American Artist Influenced the Work of a Generation of Others | KQED","description":"When Carlos Villa asked about Filipino artists as a student, he was told there weren't any.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How One Filipino American Artist Influenced the Work of a Generation of Others","datePublished":"2022-09-30T18:18:08.000Z","dateModified":"2024-01-11T20:51:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Chloe Veltman/NPR","nprByline":"Chloe Veltman","nprImageAgency":"Chloe Veltman/NPR","nprStoryId":"1122971899","nprApiLink":"http://api.npr.org/query?id=1122971899&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/09/30/1122971899/carlos-villa-asian-art-museum-san-francisco-influence?ft=nprml&f=1122971899","nprRetrievedStory":"1","nprPubDate":"Fri, 30 Sep 2022 08:19:00 -0400","nprStoryDate":"Fri, 30 Sep 2022 05:00:14 -0400","nprLastModifiedDate":"Fri, 30 Sep 2022 06:02:14 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/09/20220930_me_how_one_filipino_american_artist_influenced_the_work_of_a_generation_of_others.mp3?orgId=1&topicId=1008&d=316&p=3&story=1122971899&ft=nprml&f=1122971899","nprAudioM3u":"http://api.npr.org/m3u/11126083904-396b32.m3u?orgId=1&topicId=1008&d=316&p=3&story=1122971899&ft=nprml&f=1122971899","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13919898/how-one-filipino-american-artist-influenced-the-work-of-a-generation-of-others","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/09/20220930_me_how_one_filipino_american_artist_influenced_the_work_of_a_generation_of_others.mp3?orgId=1&topicId=1008&d=316&p=3&story=1122971899&ft=nprml&f=1122971899","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1958, when the late Filipino American artist Carlos Villa was studying at the California School of Fine Arts, he asked one of his teachers where he could learn about other Filipino art.\u003c/p>\n\u003cp>“His teacher said to him \u003cem>there isn’t any\u003c/em>,” said Mark Johnson, co-curator of \u003cem>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Villa: Worlds in Collision\u003c/a>\u003c/em>, a retrospective of Villa’s work at the Asian Art Museum of San Francisco.\u003c/p>\n\u003cp>That response inspired Villa to go beyond his own art, and make it his mission to help other artists of color.\u003c/p>\n\u003cp>“His whole career was trying to focus on filling in that story both for himself and for artists in the future,” said Johnson.\u003c/p>\n\u003cfigure id=\"attachment_13919900\" class=\"wp-caption aligncenter\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png\" alt=\"A Filipino American man dressed in black pants and hoodie sits low to the ground on the edge of a surreal sculpture. \" width=\"436\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989-160x136.png 160w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Carlos Villa in his studio, 1985. \u003ccite>(Patricia Arian/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villa died in 2013, but his legacy continues. As a professor at the San Francisco Art Institute for four decades and a powerful community organizer and mentor, Villa had an outsize impact on dozens of younger artists. His students included Obama portraitist Kehinde Wiley and Mission School art pioneer Barry McGee.\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>Villa devoted his career to uplifting others, but now he is getting his due as an artist in his own right: The exhibition at the Asian Art Museum is the first in the country to give a Filipino American artist a major retrospective.\u003c/p>\n\u003cp>It includes the artist’s paintings and installations, many of which explore multiculturalism, decolonization and Filipino identity, like his resplendent feathered capes, evoking both the vestments of Villa’s Catholic youth in San Francisco and robes worn by the Hawaiian aristocracy. A \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" target=\"_blank\" rel=\"noopener noreferrer\">companion exhibition\u003c/a> at the San Francisco Arts Commission features his later works, and an earlier iteration, which included both shows, closed at the Newark Museum of Art in May.\u003c/p>\n\u003cfigure id=\"attachment_13919907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png\" alt=\"\" width=\"800\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1020x450.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-768x339.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1536x677.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-2048x903.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1920x847.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Carlos Villa’s feathered capes, on view in the exhibition. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Asian Art Museum show also features pieces by his protégés. For example, a vintage motorcycle and side-car—a typical way Filipinos get around—tricked-out with sparkly lights, bright pom-poms and a karaoke machine, created by two former students, Filipino Americans Michael Arcega and Paolo Asuncion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919683","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sometimes the motorcycle tools around the Bay Area. But behind the fun is a serious political message about making space for Filipino American voices. “We want to signal that we are around and present,” Arcega said.\u003c/p>\n\u003cp>Arcega said this use of art as \u003cem>literally \u003c/em>a vehicle for increasing Filipino visibility was inspired by Villa, who thought street life should be an inspiration for art.\u003c/p>\n\u003cfigure id=\"attachment_13919908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM.png 1492w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘TNT Traysikel’—a tricked-out motorcycle side-car installation by artists Paolo Asuncion and Michael Arcega on display at the Asian Art Museum. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came into visual arts through graffiti art and have kind of carried that pride because of Carlos to this project,” Arcega said.\u003c/p>\n\u003cp>New York-based Filipino American artist Paul Pfeiffer also studied with Villa. He said his mentor worked to increase the visibility of artists of color in the white-dominated art world by organizing a slew of landmark conferences starting in the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Those conferences changed his life. “It felt like the first time that I was seeing a kind of conversation about art and art history that felt like it included me,” Pfeiffer said.\u003c/p>\n\u003cp>Today, Pfeiffer is an internationally-recognized political artist with work in the collection of New York’s Guggenheim Museum.\u003c/p>\n\u003cp>His video installation in the exhibit shows a boxing match in which one of the contenders—prize-fighter-turned-politician Manny Pacquiao—faces off against an opponent whose presence on screen has been erased by the artist. The piece explores the Filipino body under assault, fighting invisible forces.\u003c/p>\n\u003cp>Pfeiffer said Villa helped to shape his political awakening. “He opened the door,” Pfeiffer said. “He clued me into it.”\u003c/p>\n\u003cfigure id=\"attachment_13919909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png\" alt=\"Lilac curtains on a back wall frame lilac oblong boxes with small sculptures on and TV screens showing yellow humanoid figures at a dinner table, taken at different angles.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-1020x654.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mail Order Brides’ installation at the Asian Art Museum, ‘Chatsilog Revisited.’ \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reanne Estrada, an artist in Los Angeles, said another of Villa’s superpowers was bringing young artists together. “He exposed me to a different way of thinking about how to be an artist,” Estrada said. “How you connect with other people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916517","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Estrada is part of the surrealist art collective Mail Order Brides. She said the Brides came into being nearly 30 years ago when Villa introduced her to fellow Filipina Americans Eliza Barrios and Jenifer Wofford.\u003c/p>\n\u003cp>The Brides’ multimedia installation in the exhibition playfully pays tribute to their mentor. Villa’s face beams from a video screen, as footage on nearby screens shows Estrada, Barrios and Wofford bumbling around a kitchen making the traditional Filipino breakfast dish silog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even after decades of working together, we’re still a bunch of slightly wacky ladies wearing granny panties and egg aprons,” Estrada said. “Carlos would be proud to know some things don’t change.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+Filipino+American+artist+influenced+the+work+of+a+generation+of+others&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919898/how-one-filipino-american-artist-influenced-the-work-of-a-generation-of-others","authors":["byline_arts_13919898"],"categories":["arts_1"],"tags":["arts_2250","arts_1176","arts_10431","arts_3992"],"affiliates":["arts_137"],"featImg":"arts_13919899","label":"arts_137"},"arts_13918463":{"type":"posts","id":"arts_13918463","meta":{"index":"posts_1591205157","site":"arts","id":"13918463","score":null,"sort":[1662055144000]},"guestAuthors":[],"slug":"fall-2022-bay-area-visual-art-gallery-museum-guide","title":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","publishDate":1662055144,"format":"aside","headTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated | KQED","labelTerm":{},"content":"\u003cp>Summer may be blockbuster time for the movie world, but for visual art, it’s all about fall. Which is why it was way too hard to put together this list of 10 recommendations. Not included are two shows I’m very excited about that didn’t quite make our date cutoffs: \u003ci>\u003ca href=\"https://bampfa.org/program/undoing-time-art-and-histories-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Undoing Time\u003c/a>\u003c/i> at the Berkeley Art Museum and Pacific Film Archive (a group exhibition addressing images of incarceration) and \u003ci>\u003ca href=\"https://museum.stanford.edu/exhibitions/homeon-stage-asian-american-representation-photography-and-film\" target=\"_blank\" rel=\"noopener noreferrer\">At Home/On Stage: Asian American Representation in Photography and Film\u003c/a>\u003c/i> at the Cantor.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\" rel=\"noopener noreferrer\" target=\"_blank\">reports to the contrary\u003c/a>, the Bay Area art scene is going strong. Here’s a small sampling to whet your appetite for the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13918470\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Milford-Graves_1920.jpg\" alt=\"Chaotic sculpture assemblage with models of body parts, human figures.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Milford Graves, Installation view of ‘A Mind-Body Deal’ at the Institute for Contemporary Art, University of Pennsylvania. \u003ccite>(Constance Mensch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\" target=\"_blank\" rel=\"noopener noreferrer\">‘Drum Listens to Heart: Part I’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nSept. 1–Oct. 15\u003c/i>\u003c/p>\n\u003cp>An ambitious three-part exhibition curated by Wattis director Anthony Huberman launches with a 10-person group show accompanied by live musical performances, a publication and a pop-up record shop. Each part of \u003ci>Drum Listens to Heart\u003c/i> is a fragment of the whole show, encouraging repeat visits for each successive reinstallation (Part II on Nov. 9 and Part III on Jan. 17). This framework itself is a nod to the idea of a percussive ensemble—singular rhythms that combine into a cacophonous whole. For Huberman, percussive polyrhythms provide a framework for thinking about both aesthetic and political issues as moments of impact and vibration. This former clash cymbal player buys it.\u003c/p>\n\u003cfigure id=\"attachment_13918471\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ireland_Black_comp.jpg\" alt=\"Photo of hallway with leaning broom sculpture, at right, paper sculptures of brooms\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: David Ireland, ‘Broom Collection with Boom,’ 1978/1988; R: Libby Black, ‘Brooms,’ 2022. \u003ccite>(©Henrik Kam; Courtesy the artist and 500 Capp Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://500cappstreet.org/upcoming/36953/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black, ‘The Way Things Also Are’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>500 Capp Street, San Francisco\u003cbr>\nSept. 10–Oct. 8\u003c/i>\u003c/p>\n\u003cp>Berkeley artist \u003ca href=\"https://www.libbyblack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black\u003c/a>’s works on paper transcend the two-dimensional plane to become brightly painted and uncanny sculptural objects—often renditions of ordinary things that take on new meaning in her hands. For a solo exhibition in David Ireland’s former home, she creates new work inspired by items in the late artist’s archive and domestic space, including his early nudes, brooms (an Ireland favorite), dishes and chairs. The show, its name nodding to Ireland’s 2004 retrospective at the Oakland Museum of California, \u003ci>The Way Things Are\u003c/i>, promises a less exclusive and definitive take on the artistic legacy of 500 Capp, one that incorporates Black’s queer framework, and creates space for emerging artists Maryam Safanasab, AJ Serrano and Nicole Shaffer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13918472\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg\" alt='Collaged artwork with \"home open\" sign, flowers and advertisements' width=\"1500\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-768x769.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Saunders, ‘Untitled,’ n.d., mixed media on canvas. \u003ccite>(Courtesy of the artist and Casemore Gallery, San Francisco, and Andrew Kreps Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://svma.org/exhibition/raymond-saunders-on-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">Raymond Saunders, ‘On Freedom and Trust’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sonoma Valley Museum of Art, Sonoma\u003cbr>\nSept. 10, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>After a 2021 show spread between two San Francisco locations—\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/38-raymond-saunders-40-years-paris-oakland/works/\" target=\"_blank\" rel=\"noopener noreferrer\">Casemore Kirkeby\u003c/a> and an Andrew Kreps-rented downtown gallery—it was clear Oakland artist Raymond Saunders, now in his 80s, has plenty of work that needs to be seen. This exhibition of 25 large-scale mixed media paintings, some never exhibited before, will span the artist’s lengthy career. Expect his signature layerings of collaged found material, stenciling and painting; his delicate white lines on black surfaces; and references that encompass subjects like the history of the civil rights movement and Saunders’ own art education—all in one complex, mesmerizing work.\u003c/p>\n\u003cfigure id=\"attachment_13918517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Learningtoswim_1200.jpg\" alt=\"Black man in swim trunks lays in kiddie pool in front of shipping containers\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, ‘Learning to Swim,’ Oakland, California, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mildred-howard-the-time-and-space-of-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard, ‘The Time and Space of Now’\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/adrian-burrell-sugarcane-and-lightning-pt-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Burrell, ‘Sugarcane and Lightning pt 3’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San José\u003cbr>\nSept. 16, 2022–Feb. 26, 2023\u003c/i>\u003c/p>\n\u003cp>Family history is at the center of the ICA San José’s two solo shows with Oakland artists Mildred Howard and Adrian Burrell. Howard, a key figure in the Bay Area art scene, presents a multimedia display that includes a short film inspired by the discovery of a decades-old 8 millimeter film in her mother’s purse, footage Howard shot as a 14-year-old in Texas. At the other end of the career spectrum, this will be the first solo exhibition for Burrell (even though his CV already includes a \u003ca href=\"https://www.kqed.org/arts/13894843/at-sfmoma-adrian-l-burrells-collective-self-portraits-defy-gravity\" target=\"_blank\" rel=\"noopener noreferrer\">commission from SFMOMA\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/13908852/watch-adrian-l-burrells-the-game-gods\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that’s racking up awards on the festival circuit). For this show, Burrell worked with an investigative genealogist to connect with relatives in Louisiana and recreate images about their shared history of resistance.\u003c/p>\n\u003cfigure id=\"attachment_13918474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg\" alt=\"Purple thistle-like flower against black backdrop\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘In Search of Home, Montezuma 294,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcamerawork.org/upcoming-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas, ‘A Taxonomy of Belonging’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SF Camerawork, San Francisco\u003cbr>\nSept. 17–Dec. 17\u003c/i>\u003c/p>\n\u003cp>When SF Camerawork closed its Market Street location, I feared the worst for the nearly 50-year-old arts nonprofit. Happily, the organization is opening a new space at Fort Mason Center (the former SFMOMA Artists Gallery) with a solo exhibition by Bay Area photographer \u003ca href=\"https://www.kijalucas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas\u003c/a>. \u003ci>A Taxonomy of Belonging\u003c/i> draws from Lucas’ ongoing project \u003ci>In Search of Home\u003c/i>, which has taken the artist through 13 states, scanning plants, rocks and other objects from locations connected to the movement of her own family over time. In her description of the series, Lucas references the racial taxonomy of Carl Linnaeus, an 18th-century Swedish scientist whose writings upheld and helped define racist systems of categorization by skin color. What, her project asks, do we consider worthy of collecting and documenting?\u003c/p>\n\u003cfigure id=\"attachment_13918476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg\" alt=\"Figure bent over with white paper sculptures in hands underneath construction scaffolding\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, ‘Ground,’ 2017; still from video documentation of performance. \u003ccite>(Courtesy the artist and Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.headlands.org/event/project-space-weston-teruya/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Space: Weston Teruya\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Headlands Center for the Arts, Sausalito\u003cbr>\nSept. 25–Oct. 23\u003c/i>\u003c/p>\n\u003cp>At the dreamy Marin Headlands, Oakland artist \u003ca href=\"https://westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> will be set up in one of the residency’s project spaces, periodically opening his studio to the public as he begins researching and making a new body of work about islands. In Teruya’s description of the project, he points to both historical and fictional islands as places that can tell a variety of stories: about anti-imperialism; as cross-cultural meeting places; about lush and volatile environments; and as spaces of memory. Teruya’s work often manifests as delicate and complex paper-based sculptural installations, sometimes made in collaboration with other artists and communities. Repeat visits to Headlands to check in on his progress likely won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13918538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg\" alt=\"Image of gray sky with tree and moss interwoven in serrated pattern\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13918538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Gibson, Still from ‘This Burning World,’ 2022. \u003ccite>(Courtesy the artist and ICA San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasf.org/exhibitions/2-this-burning-world\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson, ‘This Burning World’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San Francisco\u003cbr>\nOct. 1, 2022–March 26, 2023\u003c/i>\u003c/p>\n\u003cp>It’s not every day we get a new museum in town. The non-collecting institution formally opens in the Dogpatch with a solo exhibition from New York artist \u003ca href=\"https://www.jeffreygibson.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson\u003c/a>. Details about \u003ci>This Burning World\u003c/i> are sparse but intriguing: an architectural intervention, a projected installation, performances and—in a move founding director Ali Gass’ first tried out at the ICA San José—a vinyl wrap on the building’s exterior. Going off Gibson’s \u003ca href=\"https://www.kqed.org/arts/13888590/jeffrey-gibsons-nothing-is-eternal-is-perfectly-chaotic\" target=\"_blank\" rel=\"noopener noreferrer\">2020 video\u003c/a> commissioned by the Wattis Institute, we can expect dense, lush imagery that refuses to be pinned down into any tidy summary, a perfect start for an institution dedicated to “constant reinvention in the realm of contemporary art.”\u003c/p>\n\u003cfigure id=\"attachment_13918477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg\" alt=\"Black and white image of Asian American woman smoking cigarette in car\" width=\"1920\" height=\"1903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1536x1522.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernice Bing, 1960, photographed by Grover Sales. \u003ccite>(Courtesy Estate of Bernice Bing and the Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\" target=\"_blank\" rel=\"noopener noreferrer\">Bernice Bing, ‘Into View’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nOct. 7, 2022–May 1, 2023\u003c/i>\u003c/p>\n\u003cp>While it’s always exciting to have big-name artists in our local museums, there’s a special kind of joy that comes from seeing local stars get splashy institutional attention. Celebrating the Asian Art Museum’s recent acquisition of 24 works by San Francisco-born artist Bernice Bing, \u003ci>Into View\u003c/i> presents paintings spanning the 1950s to the ’90s. Bing’s work documents both Bay Area artistic trends (Abstract Expressionism, figuration, Zen calligraphy and modernism) and the influence of the many legends she studied under in her time at the schools now known as CCA and SFAI. Her story is also one of community arts initiatives: in the 1970s, she was part of San Francisco’s Neighborhood Arts Program; in the 1980s she was the first executive director of what is now SOMArts. The Asian Art Museum now holds the largest collection of Bing’s work, and we, the Bay Area public, are the beneficiaries of this investment in our own region’s rich art history.\u003c/p>\n\u003cfigure id=\"attachment_13918479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg\" alt=\"Graphic image with Angela Davis' face, words "Free Angela" and pointing fingers\" width=\"1200\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Herb Bruce, ‘Free Angela,’ 1971. \u003ccite>(Courtesy Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/angela-davis%E2%80%93seize-time\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angela Davis—Seize the Time’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nOct. 7, 2022–June 11, 2023\u003c/i>\u003c/p>\n\u003cp>This exhibition, first shown at Rutgers University, looks at the life of the Oakland icon through multiple lenses to examine her image, influence and activism. While the show’s main focus will be on her arrest and the campaigns to free her, \u003ci>Seize the Time\u003c/i> also promises to explore Davis’ influence on artists past and present, and her continued fight for prison abolition. Whether visitors are new to her work or looking to dive more deeply into her scholarship and legacy, this show should be on everyone’s must-see list for the fall.\u003c/p>\n\u003cfigure id=\"attachment_13918536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg\" alt=\"Painting of woman in robe in shower cap in turquoise tiled shower, dog stands behind her\" width=\"1200\" height=\"1390\" class=\"size-full wp-image-13918536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-768x890.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Woman Preparing for a Shower,’ 1975; di Rosa Center for Contemporary Art, Napa, California. \u003ccite>(© Estate of Joan Brown; Photo courtesy Venus Over Manhattan, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Brown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nNov. 19, 2022–March 12, 2023\u003c/i>\u003c/p>\n\u003cp>Remember what I said about local art stars getting their flowers? This survey of the San Francisco-born painter brings around 80 pieces together for the most significant presentation of Brown’s work in over two decades. How do you know when a painting show is going to knock your socks off? When the museum’s press release is peppered with phrases like “definitely independent,” “once dismissed by critics as unserious” and “charmingly offbeat,” and the artist is described as having a “fiery disinclination for the commercial side of the art world.” If the above—and fantastical images of humans, animals and snazzy patterns—doesn’t pique your interest, I will make one more attempt to enlist you in my Joan Brown fan club. As an avid open-water swimmer, she and a group of women successfully sued three all-male Bay Area swim clubs in 1974. Two bathing suits left behind in one of those clubs after her untimely death in 1990 are now part of SFAI’s archive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"This fall brings exciting solo shows, well-deserved retrospectives and a celebration of Angela Davis’ righteous legacy.","status":"publish","parent":0,"modified":1705006425,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1835},"headData":{"title":"Your Fall 2022 Bay Area Visual Arts Preview | KQED","description":"This fall brings exciting solo shows, well-deserved retrospectives and a celebration of Angela Davis’ righteous legacy.","ogTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","ogDescription":"","ogImgId":"","twTitle":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","twDescription":"","twImgId":"","socialTitle":"Your Fall 2022 Bay Area Visual Arts Preview %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reports of Our Visual Art Scene’s Death Have Been Greatly Exaggerated","datePublished":"2022-09-01T17:59:04.000Z","dateModified":"2024-01-11T20:53:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer may be blockbuster time for the movie world, but for visual art, it’s all about fall. Which is why it was way too hard to put together this list of 10 recommendations. Not included are two shows I’m very excited about that didn’t quite make our date cutoffs: \u003ci>\u003ca href=\"https://bampfa.org/program/undoing-time-art-and-histories-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Undoing Time\u003c/a>\u003c/i> at the Berkeley Art Museum and Pacific Film Archive (a group exhibition addressing images of incarceration) and \u003ci>\u003ca href=\"https://museum.stanford.edu/exhibitions/homeon-stage-asian-american-representation-photography-and-film\" target=\"_blank\" rel=\"noopener noreferrer\">At Home/On Stage: Asian American Representation in Photography and Film\u003c/a>\u003c/i> at the Cantor.\u003c/p>\n\u003cp>Despite \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\" rel=\"noopener noreferrer\" target=\"_blank\">reports to the contrary\u003c/a>, the Bay Area art scene is going strong. Here’s a small sampling to whet your appetite for the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13918470\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Milford-Graves_1920.jpg\" alt=\"Chaotic sculpture assemblage with models of body parts, human figures.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Milford-Graves_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Milford Graves, Installation view of ‘A Mind-Body Deal’ at the Institute for Contemporary Art, University of Pennsylvania. \u003ccite>(Constance Mensch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\" target=\"_blank\" rel=\"noopener noreferrer\">‘Drum Listens to Heart: Part I’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nSept. 1–Oct. 15\u003c/i>\u003c/p>\n\u003cp>An ambitious three-part exhibition curated by Wattis director Anthony Huberman launches with a 10-person group show accompanied by live musical performances, a publication and a pop-up record shop. Each part of \u003ci>Drum Listens to Heart\u003c/i> is a fragment of the whole show, encouraging repeat visits for each successive reinstallation (Part II on Nov. 9 and Part III on Jan. 17). This framework itself is a nod to the idea of a percussive ensemble—singular rhythms that combine into a cacophonous whole. For Huberman, percussive polyrhythms provide a framework for thinking about both aesthetic and political issues as moments of impact and vibration. This former clash cymbal player buys it.\u003c/p>\n\u003cfigure id=\"attachment_13918471\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ireland_Black_comp.jpg\" alt=\"Photo of hallway with leaning broom sculpture, at right, paper sculptures of brooms\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ireland_Black_comp-768x536.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: David Ireland, ‘Broom Collection with Boom,’ 1978/1988; R: Libby Black, ‘Brooms,’ 2022. \u003ccite>(©Henrik Kam; Courtesy the artist and 500 Capp Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://500cappstreet.org/upcoming/36953/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black, ‘The Way Things Also Are’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>500 Capp Street, San Francisco\u003cbr>\nSept. 10–Oct. 8\u003c/i>\u003c/p>\n\u003cp>Berkeley artist \u003ca href=\"https://www.libbyblack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Black\u003c/a>’s works on paper transcend the two-dimensional plane to become brightly painted and uncanny sculptural objects—often renditions of ordinary things that take on new meaning in her hands. For a solo exhibition in David Ireland’s former home, she creates new work inspired by items in the late artist’s archive and domestic space, including his early nudes, brooms (an Ireland favorite), dishes and chairs. The show, its name nodding to Ireland’s 2004 retrospective at the Oakland Museum of California, \u003ci>The Way Things Are\u003c/i>, promises a less exclusive and definitive take on the artistic legacy of 500 Capp, one that incorporates Black’s queer framework, and creates space for emerging artists Maryam Safanasab, AJ Serrano and Nicole Shaffer.\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\u003cfigure id=\"attachment_13918472\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg\" alt='Collaged artwork with \"home open\" sign, flowers and advertisements' width=\"1500\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/2_Saunders_Home-Open-768x769.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Saunders, ‘Untitled,’ n.d., mixed media on canvas. \u003ccite>(Courtesy of the artist and Casemore Gallery, San Francisco, and Andrew Kreps Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://svma.org/exhibition/raymond-saunders-on-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">Raymond Saunders, ‘On Freedom and Trust’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sonoma Valley Museum of Art, Sonoma\u003cbr>\nSept. 10, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>After a 2021 show spread between two San Francisco locations—\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/38-raymond-saunders-40-years-paris-oakland/works/\" target=\"_blank\" rel=\"noopener noreferrer\">Casemore Kirkeby\u003c/a> and an Andrew Kreps-rented downtown gallery—it was clear Oakland artist Raymond Saunders, now in his 80s, has plenty of work that needs to be seen. This exhibition of 25 large-scale mixed media paintings, some never exhibited before, will span the artist’s lengthy career. Expect his signature layerings of collaged found material, stenciling and painting; his delicate white lines on black surfaces; and references that encompass subjects like the history of the civil rights movement and Saunders’ own art education—all in one complex, mesmerizing work.\u003c/p>\n\u003cfigure id=\"attachment_13918517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Learningtoswim_1200.jpg\" alt=\"Black man in swim trunks lays in kiddie pool in front of shipping containers\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Learningtoswim_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, ‘Learning to Swim,’ Oakland, California, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mildred-howard-the-time-and-space-of-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard, ‘The Time and Space of Now’\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/adrian-burrell-sugarcane-and-lightning-pt-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Burrell, ‘Sugarcane and Lightning pt 3’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San José\u003cbr>\nSept. 16, 2022–Feb. 26, 2023\u003c/i>\u003c/p>\n\u003cp>Family history is at the center of the ICA San José’s two solo shows with Oakland artists Mildred Howard and Adrian Burrell. Howard, a key figure in the Bay Area art scene, presents a multimedia display that includes a short film inspired by the discovery of a decades-old 8 millimeter film in her mother’s purse, footage Howard shot as a 14-year-old in Texas. At the other end of the career spectrum, this will be the first solo exhibition for Burrell (even though his CV already includes a \u003ca href=\"https://www.kqed.org/arts/13894843/at-sfmoma-adrian-l-burrells-collective-self-portraits-defy-gravity\" target=\"_blank\" rel=\"noopener noreferrer\">commission from SFMOMA\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/13908852/watch-adrian-l-burrells-the-game-gods\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that’s racking up awards on the festival circuit). For this show, Burrell worked with an investigative genealogist to connect with relatives in Louisiana and recreate images about their shared history of resistance.\u003c/p>\n\u003cfigure id=\"attachment_13918474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg\" alt=\"Purple thistle-like flower against black backdrop\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kija-Lucas_Montezuma-294-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘In Search of Home, Montezuma 294,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcamerawork.org/upcoming-exhibition\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas, ‘A Taxonomy of Belonging’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SF Camerawork, San Francisco\u003cbr>\nSept. 17–Dec. 17\u003c/i>\u003c/p>\n\u003cp>When SF Camerawork closed its Market Street location, I feared the worst for the nearly 50-year-old arts nonprofit. Happily, the organization is opening a new space at Fort Mason Center (the former SFMOMA Artists Gallery) with a solo exhibition by Bay Area photographer \u003ca href=\"https://www.kijalucas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kija Lucas\u003c/a>. \u003ci>A Taxonomy of Belonging\u003c/i> draws from Lucas’ ongoing project \u003ci>In Search of Home\u003c/i>, which has taken the artist through 13 states, scanning plants, rocks and other objects from locations connected to the movement of her own family over time. In her description of the series, Lucas references the racial taxonomy of Carl Linnaeus, an 18th-century Swedish scientist whose writings upheld and helped define racist systems of categorization by skin color. What, her project asks, do we consider worthy of collecting and documenting?\u003c/p>\n\u003cfigure id=\"attachment_13918476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg\" alt=\"Figure bent over with white paper sculptures in hands underneath construction scaffolding\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Teruya_W_Ground_2017_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, ‘Ground,’ 2017; still from video documentation of performance. \u003ccite>(Courtesy the artist and Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.headlands.org/event/project-space-weston-teruya/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Space: Weston Teruya\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Headlands Center for the Arts, Sausalito\u003cbr>\nSept. 25–Oct. 23\u003c/i>\u003c/p>\n\u003cp>At the dreamy Marin Headlands, Oakland artist \u003ca href=\"https://westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> will be set up in one of the residency’s project spaces, periodically opening his studio to the public as he begins researching and making a new body of work about islands. In Teruya’s description of the project, he points to both historical and fictional islands as places that can tell a variety of stories: about anti-imperialism; as cross-cultural meeting places; about lush and volatile environments; and as spaces of memory. Teruya’s work often manifests as delicate and complex paper-based sculptural installations, sometimes made in collaboration with other artists and communities. Repeat visits to Headlands to check in on his progress likely won’t disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13918538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg\" alt=\"Image of gray sky with tree and moss interwoven in serrated pattern\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13918538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/JGibsonTBW1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Gibson, Still from ‘This Burning World,’ 2022. \u003ccite>(Courtesy the artist and ICA San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasf.org/exhibitions/2-this-burning-world\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson, ‘This Burning World’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>ICA San Francisco\u003cbr>\nOct. 1, 2022–March 26, 2023\u003c/i>\u003c/p>\n\u003cp>It’s not every day we get a new museum in town. The non-collecting institution formally opens in the Dogpatch with a solo exhibition from New York artist \u003ca href=\"https://www.jeffreygibson.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeffrey Gibson\u003c/a>. Details about \u003ci>This Burning World\u003c/i> are sparse but intriguing: an architectural intervention, a projected installation, performances and—in a move founding director Ali Gass’ first tried out at the ICA San José—a vinyl wrap on the building’s exterior. Going off Gibson’s \u003ca href=\"https://www.kqed.org/arts/13888590/jeffrey-gibsons-nothing-is-eternal-is-perfectly-chaotic\" target=\"_blank\" rel=\"noopener noreferrer\">2020 video\u003c/a> commissioned by the Wattis Institute, we can expect dense, lush imagery that refuses to be pinned down into any tidy summary, a perfect start for an institution dedicated to “constant reinvention in the realm of contemporary art.”\u003c/p>\n\u003cfigure id=\"attachment_13918477\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg\" alt=\"Black and white image of Asian American woman smoking cigarette in car\" width=\"1920\" height=\"1903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Bernice-Bing-1960.-Photograph-by-Grover-Sales.-Photograph-courtesy-Estate-of-Bernice-Bing.-Courtesy-of-the-Department-of-Special-Collections-Stanford-University-Libraries_1920-1536x1522.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernice Bing, 1960, photographed by Grover Sales. \u003ccite>(Courtesy Estate of Bernice Bing and the Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\" target=\"_blank\" rel=\"noopener noreferrer\">Bernice Bing, ‘Into View’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nOct. 7, 2022–May 1, 2023\u003c/i>\u003c/p>\n\u003cp>While it’s always exciting to have big-name artists in our local museums, there’s a special kind of joy that comes from seeing local stars get splashy institutional attention. Celebrating the Asian Art Museum’s recent acquisition of 24 works by San Francisco-born artist Bernice Bing, \u003ci>Into View\u003c/i> presents paintings spanning the 1950s to the ’90s. Bing’s work documents both Bay Area artistic trends (Abstract Expressionism, figuration, Zen calligraphy and modernism) and the influence of the many legends she studied under in her time at the schools now known as CCA and SFAI. Her story is also one of community arts initiatives: in the 1970s, she was part of San Francisco’s Neighborhood Arts Program; in the 1980s she was the first executive director of what is now SOMArts. The Asian Art Museum now holds the largest collection of Bing’s work, and we, the Bay Area public, are the beneficiaries of this investment in our own region’s rich art history.\u003c/p>\n\u003cfigure id=\"attachment_13918479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg\" alt=\"Graphic image with Angela Davis' face, words "Free Angela" and pointing fingers\" width=\"1200\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/03_Bruce_Free-Angela_1971_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Herb Bruce, ‘Free Angela,’ 1971. \u003ccite>(Courtesy Lisbet Tellefsen Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/angela-davis%E2%80%93seize-time\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angela Davis—Seize the Time’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nOct. 7, 2022–June 11, 2023\u003c/i>\u003c/p>\n\u003cp>This exhibition, first shown at Rutgers University, looks at the life of the Oakland icon through multiple lenses to examine her image, influence and activism. While the show’s main focus will be on her arrest and the campaigns to free her, \u003ci>Seize the Time\u003c/i> also promises to explore Davis’ influence on artists past and present, and her continued fight for prison abolition. Whether visitors are new to her work or looking to dive more deeply into her scholarship and legacy, this show should be on everyone’s must-see list for the fall.\u003c/p>\n\u003cfigure id=\"attachment_13918536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg\" alt=\"Painting of woman in robe in shower cap in turquoise tiled shower, dog stands behind her\" width=\"1200\" height=\"1390\" class=\"size-full wp-image-13918536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/23_Joan-Brown_Woman-Preparing-for-a-Shower_1975_1200-768x890.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joan Brown, ‘Woman Preparing for a Shower,’ 1975; di Rosa Center for Contemporary Art, Napa, California. \u003ccite>(© Estate of Joan Brown; Photo courtesy Venus Over Manhattan, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Brown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nNov. 19, 2022–March 12, 2023\u003c/i>\u003c/p>\n\u003cp>Remember what I said about local art stars getting their flowers? This survey of the San Francisco-born painter brings around 80 pieces together for the most significant presentation of Brown’s work in over two decades. How do you know when a painting show is going to knock your socks off? When the museum’s press release is peppered with phrases like “definitely independent,” “once dismissed by critics as unserious” and “charmingly offbeat,” and the artist is described as having a “fiery disinclination for the commercial side of the art world.” If the above—and fantastical images of humans, animals and snazzy patterns—doesn’t pique your interest, I will make one more attempt to enlist you in my Joan Brown fan club. As an avid open-water swimmer, she and a group of women successfully sued three all-male Bay Area swim clubs in 1974. Two bathing suits left behind in one of those clubs after her untimely death in 1990 are now part of SFAI’s archive.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_6336","arts_4906","arts_2250","arts_18294","arts_18457","arts_10278","arts_3649","arts_1006","arts_11661","arts_3648","arts_2755","arts_1381","arts_6487"],"featImg":"arts_13918479","label":"source_arts_13918463"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","datePublished":"2022-06-01T18:12:58.000Z","dateModified":"2024-01-11T20:59:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13911983":{"type":"posts","id":"arts_13911983","meta":{"index":"posts_1591205157","site":"arts","id":"13911983","score":null,"sort":[1650051144000]},"guestAuthors":[],"slug":"guo-pei-legion-of-honor-san-francisco-review","title":"Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West","publishDate":1650051144,"format":"standard","headTitle":"Guo Pei’s Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Guo Pei's entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes.","status":"publish","parent":0,"modified":1705006970,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1391},"headData":{"title":"Review: Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED","description":"Guo Pei's entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Review: Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West","datePublished":"2022-04-15T19:32:24.000Z","dateModified":"2024-01-11T21:02:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Iris Kwok","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13911983/guo-pei-legion-of-honor-san-francisco-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \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 exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\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>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911983/guo-pei-legion-of-honor-san-francisco-review","authors":["byline_arts_13911983"],"categories":["arts_1","arts_76","arts_70"],"tags":["arts_2250","arts_10342","arts_1696","arts_10278","arts_1956","arts_4291","arts_5253","arts_585"],"featImg":"arts_13911988","label":"arts"},"arts_13908667":{"type":"posts","id":"arts_13908667","meta":{"index":"posts_1591205157","site":"arts","id":"13908667","score":null,"sort":[1643821208000]},"guestAuthors":[],"slug":"asian-art-museum-transphobia-bullying","title":"Accusations of Bullying, Transphobia Prompt Asian Art Museum Departures","publishDate":1643821208,"format":"standard","headTitle":"Accusations of Bullying, Transphobia Prompt Asian Art Museum Departures | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Emily was two days away from taking a three-month medical leave from her job at the Asian Art Museum.\u003c/p>\n\u003cp>But first she had to get through a video meeting with Abby Chen, her supervisor and the head of the contemporary art department. Emily had previously told Chen she was taking the leave to address her gender dysphoria, but she had no intention of going into the specifics of her time away. It was private, personal, and above all, had no bearing on her work as a research assistant at the museum.\u003c/p>\n\u003cp>The meeting on July 26, 2021, did not go well.\u003c/p>\n\u003cp>In the grievance Emily filed on Aug. 14, with the help of her union, SEIU 1021, she described Chen directly asking if she was taking the leave to undergo sex-reassignment surgery. Emily said she tried to deflect the question by speaking in more vague terms. (KQED is using a pseudonym because the former employee fears for her personal safety as a trans woman of color.)\u003c/p>\n\u003cp>“She characterized the procedure as a ‘huge decision’ that I would ‘have to think about very hard,’ which felt like she was attempting to advise me on a decision that is completely my own to make—or even dissuade me from the surgery,” Emily wrote of Chen in the grievance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the meeting progressed, Emily grew more uncomfortable. In the grievance, Emily wrote that Chen advised her to “save my sperm,” and shared details about her own reproductive decisions and regrets. Emily says when she attempted to remind Chen of the incredibly personal nature of her questions, Chen became visibly upset and appeared on the verge of tears.\u003c/p>\n\u003cp>“I do remember feeling completely shocked and disgusted that Chen was making herself out to be the ‘victim’ of this interaction and me the ‘aggressor’—an extremely manipulative tactic,” Emily later wrote.\u003c/p>\n\u003cp>Emily says Chen then asked if Emily could give her feedback about crossing professional boundaries, claiming it was something she had always struggled with. Emily says she promised to think about the topic and provide feedback at a later date.\u003c/p>\n\u003cp>“This interaction made me feel monstrous to be transgender,” Emily wrote in her grievance. According to Emily, an hour after the meeting, Chen texted an apology for the invasive questions and thanked Emily for “calling her out.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Emily, former museum employee']‘I can no longer sacrifice my safety, dignity, and mental health for the sake of my career.’[/pullquote]Emily never returned to work at the museum. Since her departure, a picture has emerged of the toxic atmosphere in the museum’s contemporary art department, a dynamic known to museum leadership. At the center of that picture: a disconnect between the institution’s public-facing objectives and its internal working relationships. One of the most recent shows to open at the Asian Art Museum is \u003ci>Seeing Gender\u003c/i>, which includes examples of gender fluidity and subversion in Asian art.\u003c/p>\n\u003cp>Just before the end of her leave, Emily quit, sending an email to union members announcing her departure on Oct. 27, 2021.\u003c/p>\n\u003cp>“I envisioned myself staying at the museum and in this position for longer because I really cared about the work that I did and found it extremely fulfilling,” Emily wrote. “However, the completely inappropriate behavior of my supervisor has forced me to make this decision. I’ve decided that I can no longer sacrifice my safety, dignity, and mental health for the sake of my career.”\u003c/p>\n\u003cfigure id=\"attachment_13908815\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco.jpeg\" alt='Building exterior with colorful flags spelling \"PRIDE\"' width=\"1280\" height=\"853\" class=\"size-full wp-image-13908815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Asian Art Museum in 2017. \u003ccite>(Minette Lontsie / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rare grievance filed\u003c/h2>\n\u003cp>Emily was the third staff member from the contemporary art department to leave in just over two years. All three former employees name Chen’s actions as a manager—citing transphobia, bullying and varying degrees of unprofessional behavior—as primary or contributing reasons for leaving the institution.\u003c/p>\n\u003cp>The museum, however, does not see these departures as connected. \u003c/p>\n\u003cp>“The Asian Art Museum’s turnover rate has been very stable for many years,” the museum said in a statement provided to KQED. “We do our best to nurture development and growth for our staff. We’re proud when staff take on new roles at prominent institutions, knowing that their time at the Asian Art Museum helped pave the way.”\u003c/p>\n\u003cp>The museum declined to make Chen available for an interview.\u003c/p>\n\u003cp>Because Emily was the only employee who made a formal complaint to HR—and took the further step to file a grievance through the union—the July meeting is the only such incident with a paper trail. Emily was aware of this. Even though she didn’t expect a tangible outcome from the grievance, filing it meant her experience would reach museum leadership. \u003c/p>\n\u003cp>“I just wanted to make sure that the right people knew,” she says.\u003c/p>\n\u003cp>The Asian Art Museum’s union stewards say it’s rare for museum employees to file grievances. While staffers may come to them with complaints of harassment or bullying by their managers, it’s extraordinarily challenging, they say, to get anyone to put anything down in writing because of a fear of retaliation.\u003c/p>\n\u003cp>“I’m here to help these members, and when they hide away like that I can’t help them—it’s really heartbreaking to watch,” says union steward Michael Hubbard, who works at the museum as a facilities coordinator. “In the end, we’ve seen this happen: the easiest course of action is eventually these employees end up resigning because there’s nowhere else to go.”\u003c/p>\n\u003cp>Similarly, if there isn’t a recorded incident to investigate, the museum can’t be faulted for ignoring a larger problem. \u003c/p>\n\u003cp>“We continue to proactively invite union leadership to provide specific examples of bullying or share incidents when workplace culture does not align with our values or offer actionable suggestions about how to positively evolve workplace culture at the museum,” the museum wrote in a statement. (The museum recently hired its first director of inclusion and belonging; that employee started work on Jan. 31.)\u003c/p>\n\u003cp>On Dec. 20, union membership sent a letter to museum leadership and requested that Chen be removed from her position as head of contemporary art. The letter alleges Chen remains antagonistic to colleagues, exhibiting a lack of collaboration, harassment and lack of professional boundaries. \u003c/p>\n\u003cp>“These constitute a toxic work environment,” the letter reads.\u003c/p>\n\u003cp>But to museum leadership, the case is closed. \u003c/p>\n\u003cp>“The museum has taken appropriate measures to ensure any substantiated incidents remain isolated and do not recur in the future,” the museum said in the statement. “The process is prompt, thorough, and effective and it worked here in the same way it has worked before when various workplace issues and conflicts arise.” \u003c/p>\n\u003cfigure id=\"attachment_13908810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Abby-Chen.jpeg\" alt=\"Image of woman with chin-length dark hair\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abby Chen was announced as the Asian Art Museum’s first head of contemporary art in 2018. \u003ccite>(Courtesy Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A non-traditional approach\u003c/h2>\n\u003cp>When Chen joined the Asian Art Museum in January 2019, a flurry of media excitement surrounded the museum’s choice for its first head of contemporary art. This reporter \u003ca href=\"https://www.kqed.org/arts/13847147/curator-abby-chen-to-head-asian-art-museums-contemporary-art-department\" rel=\"noopener noreferrer\" target=\"_blank\">participated in the fanfare\u003c/a>. \u003c/p>\n\u003cp>Chen was a local art-world celebrity, but not an obvious choice for the position. In the statement provided to KQED, the museum now says that was precisely the reason why she was recruited for the job: “She brings with her a non-traditional, non-academic, and extremely dynamic perspective on the power of uplifting marginalized voices and broadening institutional platforms.”\u003c/p>\n\u003cp>[aside postID='arts_10881968']Previously the artistic director of the Chinese Culture Center, Chen had established a reputation over her 12-year tenure at the community arts organization for enlivening staid spaces and bringing energetic contemporary art projects to San Francisco’s Chinatown. (Emily previously worked for Chen at the CCC.) \u003c/p>\n\u003cp>But Chen’s new position includes an entirely different set of responsibilities: building a contemporary art collection, courting major donors, and dealing with things like acquisition paperwork and conservation concerns.\u003c/p>\n\u003cp>Even if she was starting fresh, Chen was gaining a department with deep institutional knowledge. That included associate curator Dr. Karin Oen, who joined the Asian Art Museum in 2015; assistant curator Marc Mayer, at the museum since 2011; and project manager Megan Merritt, a museum employee since 2016. \u003c/p>\n\u003cp>By February 2020, slightly a year after Chen came on as head of contemporary art, both Oen and Mayer had resigned.\u003c/p>\n\u003cp>Oen’s departure in August 2019 is complicated by the fact that she too applied for the position of head of contemporary art. A museum spokesperson points to this—and a subsequent job offer overseas—as the reason she left. But Oen says she would have considered staying on at the museum if Chen had not been her manager. She had family in the Bay Area, a stacked schedule of exhibitions and programs, and she believed in the work she was doing with Mayer around the museum’s expansion.\u003c/p>\n\u003cp>A few months into Chen’s tenure, there was still an uncomfortable social dynamic in the department. Oen describes Chen as having a “harsh managerial tone” at team meetings. A fairly casual, collegial conversation could turn on a dime, Oen says, “to feeling like it was like an inquisition.”\u003c/p>\n\u003cp>One-on-one meetings were often more focused on Chen’s personal life than work matters. Mayer says she asked him for advice navigating difficult relationships with other museum staffers. Oen was confused by her manager’s focus on non-professional issues like Chen’s weight, haircut and reproductive choices. \u003c/p>\n\u003cp>Oen brought her concerns about Chen’s treatment of her coworkers to the museum’s chief curator and deputy director. While Chen’s managerial style within the contemporary art department was known to them, Oen says, “they couldn’t do anything about it because it doesn’t cross a line and then nobody’s filing an actual complaint.”\u003c/p>\n\u003cp>The message, Oen remembers, was that everyone would need to adjust to Chen. She says these conversations “left me feeling a little bit helpless.”\u003c/p>\n\u003ch2>A ‘confrontation every single day’\u003c/h2>\n\u003cp>In the summer of 2019, following Oen’s departure, Mayer’s relationship with Chen began to disintegrate further. In September, she instituted daily one-hour meetings with Mayer. No one else in the department was having meetings like this. Emily, who joined the museum in October, remembers interrupting one of these interactions and seeing Mayer “in a cold sweat.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Marc Mayer, former museum employee']‘It became apparent there was nowhere else to really turn.’[/pullquote]“It got to the point where I really started to feel bullied,” Mayer says. “She just kind of spent those meetings telling me how bad I was.”\u003c/p>\n\u003cp>The situation started to affect his mental health. \u003c/p>\n\u003cp>“These meetings were horrible,” he says. “I just didn’t want to get up and go to work in the morning. Because it was like this confrontation every single day.”\u003c/p>\n\u003cp>Like Oen, Mayer spoke to the museum’s chief curator and deputy director about his experiences, seeking support to diffuse the situation or transfer into another department. He also went to HR, explicitly saying he felt bullied. \u003c/p>\n\u003cp>“It became apparent there was nowhere else to really turn,” he says. \u003c/p>\n\u003cp>He considered filing a grievance but already knew he couldn’t keep working at the museum. Now, he can’t help wondering if things might have gone differently for Emily if he had put his own experience on the record. \u003c/p>\n\u003cp>“I do feel an element of responsibility that something—while totally different—happened because of a power dynamic like that. And that sits badly with me,” he says.\u003c/p>\n\u003ch2>The investigation\u003c/h2>\n\u003cp>When Emily announced she was leaving the museum, the investigation into her grievance was ongoing. In her farewell email to union membership, Emily detailed the meeting with Chen, along with previous interactions at both the Asian Art Museum and the CCC that she believed to be inappropriate.\u003c/p>\n\u003cp>“Everyone was very, very upset to hear these details,” says shop steward Steven Sciscenti, who works as a conservation technician at the museum. \u003c/p>\n\u003cp>A flurry of emails from union members followed, expressing shock and concern, along with calls for collective action to ensure the safety of remaining staff.\u003c/p>\n\u003cp>[aside postID='arts_13809355']The investigation into Emily’s grievance involved the museum’s labor and employment counsel, Boucher Law, which retained a third-party workplace investigation firm, McFadden, Ingham & Ohmart, LLP, to undergo a fact-finding process into the allegations.\u003c/p>\n\u003cp>In a Nov. 5 email to all staff, museum director and CEO Jay Xu directly addressed Emily’s letter and the concerns of the union, acknowledging that the allegations raised “can be very upsetting.” \u003c/p>\n\u003cp>“I want to assure you that the museum keeps the well-being of our staff the utmost priority and is here to listen to you,” Xu wrote. “To the extent that this may provide a greater learning opportunity for the museum to further foster our commitment to diversity, inclusion and equity, we will engage in continuous learning opportunities to further our adherence to these principles.”\u003c/p>\n\u003cp>On Nov. 24, Xu sent another email to the museum staff announcing the investigation’s conclusion, saying that if misconduct had occurred, appropriate and effective corrective and remedial action would be taken. To share any further details would be a violation of privacy. From the remaining staff’s perspective, it looked like no response at all.\u003c/p>\n\u003ch2>To be safe and welcoming\u003c/h2>\n\u003cp>Recent surveys of Asian Art Museum staff show a generally happy workforce. In one, close to 60% of staff said their satisfaction was at 7 or above, out of 10. Ninety-five percent of staff reported they were proud to work at the Asian Art Museum. Prompted by the phrase “my supervisor respects me,” 26.6% of staff agreed and 53.2% strongly agreed.\u003c/p>\n\u003cp>But the departures within the contemporary art department, union leadership notes, are also quantifiable numbers. \u003c/p>\n\u003cp>“With three staff feeling as though they had no other choice but to leave, some of them without a job to go to, how many staff does it take before management says, ‘Hey, maybe this isn’t working out,’ or ‘Maybe we should reevaluate this?’” asks Jennifer Miller, a shop steward and education assistant at the museum. “It’s definitely prioritizing management over staff.”\u003c/p>\n\u003cp>Emily hasn’t pursued any further action since a law firm that specializes in sexual harassment and discrimination declined to represent her. “I was kind of discouraged by the idea that no one would care about transphobia,” she says, “and especially care about it in this form that isn’t as overt as a kind of capital-H hate crime.”\u003c/p>\n\u003cp>As for Oen, she sees the situation at the Asian Art Museum as part of a larger conversation around power and privilege, an example “of how really widespread these issues are, specifically in cultural institutions that claim a type of inclusivity and educational mission,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But like many institutions,” Oen continues, “they haven’t really grown to accommodate the type of inclusivity and the type of restructuring that would be necessary to make them really safe and really welcoming.”\u003c/p>\n\n","blocks":[],"excerpt":"Three former employees say Abby Chen’s actions influenced their decision to leave the museum.","status":"publish","parent":0,"modified":1705007252,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":60,"wordCount":2663},"headData":{"title":"Accusations of Bullying, Transphobia Prompt Asian Art Museum Departures | KQED","description":"Three former employees say Abby Chen’s actions influenced their decision to leave the museum.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Accusations of Bullying, Transphobia Prompt Asian Art Museum Departures","datePublished":"2022-02-02T17:00:08.000Z","dateModified":"2024-01-11T21:07:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13908667/asian-art-museum-transphobia-bullying","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emily was two days away from taking a three-month medical leave from her job at the Asian Art Museum.\u003c/p>\n\u003cp>But first she had to get through a video meeting with Abby Chen, her supervisor and the head of the contemporary art department. Emily had previously told Chen she was taking the leave to address her gender dysphoria, but she had no intention of going into the specifics of her time away. It was private, personal, and above all, had no bearing on her work as a research assistant at the museum.\u003c/p>\n\u003cp>The meeting on July 26, 2021, did not go well.\u003c/p>\n\u003cp>In the grievance Emily filed on Aug. 14, with the help of her union, SEIU 1021, she described Chen directly asking if she was taking the leave to undergo sex-reassignment surgery. Emily said she tried to deflect the question by speaking in more vague terms. (KQED is using a pseudonym because the former employee fears for her personal safety as a trans woman of color.)\u003c/p>\n\u003cp>“She characterized the procedure as a ‘huge decision’ that I would ‘have to think about very hard,’ which felt like she was attempting to advise me on a decision that is completely my own to make—or even dissuade me from the surgery,” Emily wrote of Chen in the grievance.\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>As the meeting progressed, Emily grew more uncomfortable. In the grievance, Emily wrote that Chen advised her to “save my sperm,” and shared details about her own reproductive decisions and regrets. Emily says when she attempted to remind Chen of the incredibly personal nature of her questions, Chen became visibly upset and appeared on the verge of tears.\u003c/p>\n\u003cp>“I do remember feeling completely shocked and disgusted that Chen was making herself out to be the ‘victim’ of this interaction and me the ‘aggressor’—an extremely manipulative tactic,” Emily later wrote.\u003c/p>\n\u003cp>Emily says Chen then asked if Emily could give her feedback about crossing professional boundaries, claiming it was something she had always struggled with. Emily says she promised to think about the topic and provide feedback at a later date.\u003c/p>\n\u003cp>“This interaction made me feel monstrous to be transgender,” Emily wrote in her grievance. According to Emily, an hour after the meeting, Chen texted an apology for the invasive questions and thanked Emily for “calling her out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I can no longer sacrifice my safety, dignity, and mental health for the sake of my career.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Emily, former museum employee","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Emily never returned to work at the museum. Since her departure, a picture has emerged of the toxic atmosphere in the museum’s contemporary art department, a dynamic known to museum leadership. At the center of that picture: a disconnect between the institution’s public-facing objectives and its internal working relationships. One of the most recent shows to open at the Asian Art Museum is \u003ci>Seeing Gender\u003c/i>, which includes examples of gender fluidity and subversion in Asian art.\u003c/p>\n\u003cp>Just before the end of her leave, Emily quit, sending an email to union members announcing her departure on Oct. 27, 2021.\u003c/p>\n\u003cp>“I envisioned myself staying at the museum and in this position for longer because I really cared about the work that I did and found it extremely fulfilling,” Emily wrote. “However, the completely inappropriate behavior of my supervisor has forced me to make this decision. I’ve decided that I can no longer sacrifice my safety, dignity, and mental health for the sake of my career.”\u003c/p>\n\u003cfigure id=\"attachment_13908815\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco.jpeg\" alt='Building exterior with colorful flags spelling \"PRIDE\"' width=\"1280\" height=\"853\" class=\"size-full wp-image-13908815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1280px-Asian_Art_Museum_San_Francisco-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Asian Art Museum in 2017. \u003ccite>(Minette Lontsie / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rare grievance filed\u003c/h2>\n\u003cp>Emily was the third staff member from the contemporary art department to leave in just over two years. All three former employees name Chen’s actions as a manager—citing transphobia, bullying and varying degrees of unprofessional behavior—as primary or contributing reasons for leaving the institution.\u003c/p>\n\u003cp>The museum, however, does not see these departures as connected. \u003c/p>\n\u003cp>“The Asian Art Museum’s turnover rate has been very stable for many years,” the museum said in a statement provided to KQED. “We do our best to nurture development and growth for our staff. We’re proud when staff take on new roles at prominent institutions, knowing that their time at the Asian Art Museum helped pave the way.”\u003c/p>\n\u003cp>The museum declined to make Chen available for an interview.\u003c/p>\n\u003cp>Because Emily was the only employee who made a formal complaint to HR—and took the further step to file a grievance through the union—the July meeting is the only such incident with a paper trail. Emily was aware of this. Even though she didn’t expect a tangible outcome from the grievance, filing it meant her experience would reach museum leadership. \u003c/p>\n\u003cp>“I just wanted to make sure that the right people knew,” she says.\u003c/p>\n\u003cp>The Asian Art Museum’s union stewards say it’s rare for museum employees to file grievances. While staffers may come to them with complaints of harassment or bullying by their managers, it’s extraordinarily challenging, they say, to get anyone to put anything down in writing because of a fear of retaliation.\u003c/p>\n\u003cp>“I’m here to help these members, and when they hide away like that I can’t help them—it’s really heartbreaking to watch,” says union steward Michael Hubbard, who works at the museum as a facilities coordinator. “In the end, we’ve seen this happen: the easiest course of action is eventually these employees end up resigning because there’s nowhere else to go.”\u003c/p>\n\u003cp>Similarly, if there isn’t a recorded incident to investigate, the museum can’t be faulted for ignoring a larger problem. \u003c/p>\n\u003cp>“We continue to proactively invite union leadership to provide specific examples of bullying or share incidents when workplace culture does not align with our values or offer actionable suggestions about how to positively evolve workplace culture at the museum,” the museum wrote in a statement. (The museum recently hired its first director of inclusion and belonging; that employee started work on Jan. 31.)\u003c/p>\n\u003cp>On Dec. 20, union membership sent a letter to museum leadership and requested that Chen be removed from her position as head of contemporary art. The letter alleges Chen remains antagonistic to colleagues, exhibiting a lack of collaboration, harassment and lack of professional boundaries. \u003c/p>\n\u003cp>“These constitute a toxic work environment,” the letter reads.\u003c/p>\n\u003cp>But to museum leadership, the case is closed. \u003c/p>\n\u003cp>“The museum has taken appropriate measures to ensure any substantiated incidents remain isolated and do not recur in the future,” the museum said in the statement. “The process is prompt, thorough, and effective and it worked here in the same way it has worked before when various workplace issues and conflicts arise.” \u003c/p>\n\u003cfigure id=\"attachment_13908810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Abby-Chen.jpeg\" alt=\"Image of woman with chin-length dark hair\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Abby-Chen-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Abby Chen was announced as the Asian Art Museum’s first head of contemporary art in 2018. \u003ccite>(Courtesy Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A non-traditional approach\u003c/h2>\n\u003cp>When Chen joined the Asian Art Museum in January 2019, a flurry of media excitement surrounded the museum’s choice for its first head of contemporary art. This reporter \u003ca href=\"https://www.kqed.org/arts/13847147/curator-abby-chen-to-head-asian-art-museums-contemporary-art-department\" rel=\"noopener noreferrer\" target=\"_blank\">participated in the fanfare\u003c/a>. \u003c/p>\n\u003cp>Chen was a local art-world celebrity, but not an obvious choice for the position. In the statement provided to KQED, the museum now says that was precisely the reason why she was recruited for the job: “She brings with her a non-traditional, non-academic, and extremely dynamic perspective on the power of uplifting marginalized voices and broadening institutional platforms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10881968","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Previously the artistic director of the Chinese Culture Center, Chen had established a reputation over her 12-year tenure at the community arts organization for enlivening staid spaces and bringing energetic contemporary art projects to San Francisco’s Chinatown. (Emily previously worked for Chen at the CCC.) \u003c/p>\n\u003cp>But Chen’s new position includes an entirely different set of responsibilities: building a contemporary art collection, courting major donors, and dealing with things like acquisition paperwork and conservation concerns.\u003c/p>\n\u003cp>Even if she was starting fresh, Chen was gaining a department with deep institutional knowledge. That included associate curator Dr. Karin Oen, who joined the Asian Art Museum in 2015; assistant curator Marc Mayer, at the museum since 2011; and project manager Megan Merritt, a museum employee since 2016. \u003c/p>\n\u003cp>By February 2020, slightly a year after Chen came on as head of contemporary art, both Oen and Mayer had resigned.\u003c/p>\n\u003cp>Oen’s departure in August 2019 is complicated by the fact that she too applied for the position of head of contemporary art. A museum spokesperson points to this—and a subsequent job offer overseas—as the reason she left. But Oen says she would have considered staying on at the museum if Chen had not been her manager. She had family in the Bay Area, a stacked schedule of exhibitions and programs, and she believed in the work she was doing with Mayer around the museum’s expansion.\u003c/p>\n\u003cp>A few months into Chen’s tenure, there was still an uncomfortable social dynamic in the department. Oen describes Chen as having a “harsh managerial tone” at team meetings. A fairly casual, collegial conversation could turn on a dime, Oen says, “to feeling like it was like an inquisition.”\u003c/p>\n\u003cp>One-on-one meetings were often more focused on Chen’s personal life than work matters. Mayer says she asked him for advice navigating difficult relationships with other museum staffers. Oen was confused by her manager’s focus on non-professional issues like Chen’s weight, haircut and reproductive choices. \u003c/p>\n\u003cp>Oen brought her concerns about Chen’s treatment of her coworkers to the museum’s chief curator and deputy director. While Chen’s managerial style within the contemporary art department was known to them, Oen says, “they couldn’t do anything about it because it doesn’t cross a line and then nobody’s filing an actual complaint.”\u003c/p>\n\u003cp>The message, Oen remembers, was that everyone would need to adjust to Chen. She says these conversations “left me feeling a little bit helpless.”\u003c/p>\n\u003ch2>A ‘confrontation every single day’\u003c/h2>\n\u003cp>In the summer of 2019, following Oen’s departure, Mayer’s relationship with Chen began to disintegrate further. In September, she instituted daily one-hour meetings with Mayer. No one else in the department was having meetings like this. Emily, who joined the museum in October, remembers interrupting one of these interactions and seeing Mayer “in a cold sweat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘It became apparent there was nowhere else to really turn.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Marc Mayer, former museum employee","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It got to the point where I really started to feel bullied,” Mayer says. “She just kind of spent those meetings telling me how bad I was.”\u003c/p>\n\u003cp>The situation started to affect his mental health. \u003c/p>\n\u003cp>“These meetings were horrible,” he says. “I just didn’t want to get up and go to work in the morning. Because it was like this confrontation every single day.”\u003c/p>\n\u003cp>Like Oen, Mayer spoke to the museum’s chief curator and deputy director about his experiences, seeking support to diffuse the situation or transfer into another department. He also went to HR, explicitly saying he felt bullied. \u003c/p>\n\u003cp>“It became apparent there was nowhere else to really turn,” he says. \u003c/p>\n\u003cp>He considered filing a grievance but already knew he couldn’t keep working at the museum. Now, he can’t help wondering if things might have gone differently for Emily if he had put his own experience on the record. \u003c/p>\n\u003cp>“I do feel an element of responsibility that something—while totally different—happened because of a power dynamic like that. And that sits badly with me,” he says.\u003c/p>\n\u003ch2>The investigation\u003c/h2>\n\u003cp>When Emily announced she was leaving the museum, the investigation into her grievance was ongoing. In her farewell email to union membership, Emily detailed the meeting with Chen, along with previous interactions at both the Asian Art Museum and the CCC that she believed to be inappropriate.\u003c/p>\n\u003cp>“Everyone was very, very upset to hear these details,” says shop steward Steven Sciscenti, who works as a conservation technician at the museum. \u003c/p>\n\u003cp>A flurry of emails from union members followed, expressing shock and concern, along with calls for collective action to ensure the safety of remaining staff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13809355","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The investigation into Emily’s grievance involved the museum’s labor and employment counsel, Boucher Law, which retained a third-party workplace investigation firm, McFadden, Ingham & Ohmart, LLP, to undergo a fact-finding process into the allegations.\u003c/p>\n\u003cp>In a Nov. 5 email to all staff, museum director and CEO Jay Xu directly addressed Emily’s letter and the concerns of the union, acknowledging that the allegations raised “can be very upsetting.” \u003c/p>\n\u003cp>“I want to assure you that the museum keeps the well-being of our staff the utmost priority and is here to listen to you,” Xu wrote. “To the extent that this may provide a greater learning opportunity for the museum to further foster our commitment to diversity, inclusion and equity, we will engage in continuous learning opportunities to further our adherence to these principles.”\u003c/p>\n\u003cp>On Nov. 24, Xu sent another email to the museum staff announcing the investigation’s conclusion, saying that if misconduct had occurred, appropriate and effective corrective and remedial action would be taken. To share any further details would be a violation of privacy. From the remaining staff’s perspective, it looked like no response at all.\u003c/p>\n\u003ch2>To be safe and welcoming\u003c/h2>\n\u003cp>Recent surveys of Asian Art Museum staff show a generally happy workforce. In one, close to 60% of staff said their satisfaction was at 7 or above, out of 10. Ninety-five percent of staff reported they were proud to work at the Asian Art Museum. Prompted by the phrase “my supervisor respects me,” 26.6% of staff agreed and 53.2% strongly agreed.\u003c/p>\n\u003cp>But the departures within the contemporary art department, union leadership notes, are also quantifiable numbers. \u003c/p>\n\u003cp>“With three staff feeling as though they had no other choice but to leave, some of them without a job to go to, how many staff does it take before management says, ‘Hey, maybe this isn’t working out,’ or ‘Maybe we should reevaluate this?’” asks Jennifer Miller, a shop steward and education assistant at the museum. “It’s definitely prioritizing management over staff.”\u003c/p>\n\u003cp>Emily hasn’t pursued any further action since a law firm that specializes in sexual harassment and discrimination declined to represent her. “I was kind of discouraged by the idea that no one would care about transphobia,” she says, “and especially care about it in this form that isn’t as overt as a kind of capital-H hate crime.”\u003c/p>\n\u003cp>As for Oen, she sees the situation at the Asian Art Museum as part of a larger conversation around power and privilege, an example “of how really widespread these issues are, specifically in cultural institutions that claim a type of inclusivity and educational mission,” she says.\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>“But like many institutions,” Oen continues, “they haven’t really grown to accommodate the type of inclusivity and the type of restructuring that would be necessary to make them really safe and really welcoming.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13908667/asian-art-museum-transphobia-bullying","authors":["61"],"categories":["arts_1"],"tags":["arts_2250","arts_10342","arts_10278"],"featImg":"arts_13908808","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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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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