BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions
Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley
Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA
In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects
Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy
Step Into the Shimmering World of Amalia Mesa-Bains at BAMPFA
Art to See at the Start of 2023
The Best Art I Saw in 2022
Poetic, Powerful Lebanese Cinema of the ’70s and ’80s Comes to BAMPFA
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She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","status":"publish","parent":0,"modified":1713212390,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1024},"headData":{"title":"BAMPFA Show Tells Stories of the Great Migration Through Art | KQED","description":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","ogTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","ogDescription":"","ogImgId":"","twTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","twDescription":"","twImgId":"","socialTitle":"BAMPFA Show Tells Stories of the Great Migration Through Art %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10278","arts_13952","arts_769","arts_585"],"featImg":"arts_13955973","label":"arts_140"},"arts_13955263":{"type":"posts","id":"arts_13955263","meta":{"index":"posts_1591205157","site":"arts","id":"13955263","score":null,"sort":[1712089660000]},"guestAuthors":[],"slug":"ocean-vuong-berkeley-bampfa","title":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley","publishDate":1712089660,"format":"standard","headTitle":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since his first poetry collection in 2016, \u003cem>Night Sky With Exit Wounds\u003c/em>, and his 2019 fiction debut, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>, Ocean Vuong has been showered with almost every writerly accolade you can think of. His works to date foreground mothering and queerness, piercing the heart of an Asian refugee experience in America.\u003c/p>\n\u003cp>The celebrated poet and novelist comes to the Berkeley Museum and Pacific Film Archive on Thursday, April 4 for a \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">conversation\u003c/a> with \u003cem>Minor Feelings\u003c/em> author Cathy Park Hong and Friday, April 5 for a \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">reading\u003c/a> from his 2022 poetry collection, \u003cem>Time Is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13955269\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong’s ‘Time Is a Mother.’ \u003ccite>(Olivia Cruz Mayeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We often look at queerness being innately faulty, that it’s the queerness that makes these lives tragic,” Vuong \u003ca href=\"https://www.youtube.com/watch?v=fjTiLodYG3Y&ab_channel=StrandBookStore\">said\u003c/a> at New York bookstore The Strand in 2020. “But in fact it’s hegemonic masculinity and this patriarchal structure that made these lives lose themselves within it, and so the tragedy is America.”\u003c/p>\n\u003cp>Vuong’s writing also holds — in its gentle and expert hands — the very nature of language, of words. Vuong puts language in careful and powerful proximity to itself and “embraces the quiet between words,” as \u003ca href=\"https://www.theparisreview.org/blog/2019/06/05/survival-as-a-creative-force-an-interview-with-ocean-vuong/\">described\u003c/a> by \u003cem>Paris Review\u003c/em> writer Spencer Quong.\u003c/p>\n\u003cp>“Writing as a poet is very akin to chemistry,” Vuong said. “And words have always lived this way for me.”\u003c/p>\n\u003cfigure id=\"attachment_13955270\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg\" alt=\"\" width=\"816\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-768x958.jpg 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong \u003ccite>(Tom Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With striking turns of phrase in poems like “Old Glory” from \u003cem>Time Is a Mother\u003c/em>, Vuong lays bare the violence of the American vernacular. But he also offers readers a new way beyond the Western storytelling traditions that rely on death, sex and victory to move characters through plot by literal force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some folks do not survive this book, but their destruction was not necessary for the realization of the protagonist,” Vuong said of his novel. “And that’s how a lot of Western literature in the Western canon is given to us from the Greco-Roman tradition: David and Goliath.”\u003c/p>\n\u003cp>Vuong instead reveres Asian storytelling structures like \u003ca href=\"https://artofnarrative.com/2020/07/08/kishotenketsu-exploring-the-four-act-story-structure/\">kishōtenketsu\u003c/a>, which emphasizes deepening of self instead of conquest over others. Vuong \u003ca href=\"https://www.youtube.com/watch?v=cdKUb_fZJs4&t=1584s&ab_channel=FreshAir\">credits\u003c/a> his mother and grandmother for their institution-less masterclasses in storytelling, and his thoughtful subversiveness decenters readers towards new dimensions of time, space and literature.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ocean Vuong appears on Thursday, April 4 and Friday, April 5 at BAMFA (2155 Center St., Berkeley). Both events are free and open to the general public, first come, first served. \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">Details here\u003c/a> and \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 'On Earth We’re Briefly Gorgeous' novelist is coming to BAMPFA for two free appearances.\r\n","status":"publish","parent":0,"modified":1712091181,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":439},"headData":{"title":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley | KQED","description":"The 'On Earth We’re Briefly Gorgeous' novelist is coming to BAMPFA for two free appearances.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955263/ocean-vuong-berkeley-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since his first poetry collection in 2016, \u003cem>Night Sky With Exit Wounds\u003c/em>, and his 2019 fiction debut, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>, Ocean Vuong has been showered with almost every writerly accolade you can think of. His works to date foreground mothering and queerness, piercing the heart of an Asian refugee experience in America.\u003c/p>\n\u003cp>The celebrated poet and novelist comes to the Berkeley Museum and Pacific Film Archive on Thursday, April 4 for a \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">conversation\u003c/a> with \u003cem>Minor Feelings\u003c/em> author Cathy Park Hong and Friday, April 5 for a \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">reading\u003c/a> from his 2022 poetry collection, \u003cem>Time Is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13955269\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong’s ‘Time Is a Mother.’ \u003ccite>(Olivia Cruz Mayeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We often look at queerness being innately faulty, that it’s the queerness that makes these lives tragic,” Vuong \u003ca href=\"https://www.youtube.com/watch?v=fjTiLodYG3Y&ab_channel=StrandBookStore\">said\u003c/a> at New York bookstore The Strand in 2020. “But in fact it’s hegemonic masculinity and this patriarchal structure that made these lives lose themselves within it, and so the tragedy is America.”\u003c/p>\n\u003cp>Vuong’s writing also holds — in its gentle and expert hands — the very nature of language, of words. Vuong puts language in careful and powerful proximity to itself and “embraces the quiet between words,” as \u003ca href=\"https://www.theparisreview.org/blog/2019/06/05/survival-as-a-creative-force-an-interview-with-ocean-vuong/\">described\u003c/a> by \u003cem>Paris Review\u003c/em> writer Spencer Quong.\u003c/p>\n\u003cp>“Writing as a poet is very akin to chemistry,” Vuong said. “And words have always lived this way for me.”\u003c/p>\n\u003cfigure id=\"attachment_13955270\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg\" alt=\"\" width=\"816\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-768x958.jpg 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong \u003ccite>(Tom Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With striking turns of phrase in poems like “Old Glory” from \u003cem>Time Is a Mother\u003c/em>, Vuong lays bare the violence of the American vernacular. But he also offers readers a new way beyond the Western storytelling traditions that rely on death, sex and victory to move characters through plot by literal force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Some folks do not survive this book, but their destruction was not necessary for the realization of the protagonist,” Vuong said of his novel. “And that’s how a lot of Western literature in the Western canon is given to us from the Greco-Roman tradition: David and Goliath.”\u003c/p>\n\u003cp>Vuong instead reveres Asian storytelling structures like \u003ca href=\"https://artofnarrative.com/2020/07/08/kishotenketsu-exploring-the-four-act-story-structure/\">kishōtenketsu\u003c/a>, which emphasizes deepening of self instead of conquest over others. Vuong \u003ca href=\"https://www.youtube.com/watch?v=cdKUb_fZJs4&t=1584s&ab_channel=FreshAir\">credits\u003c/a> his mother and grandmother for their institution-less masterclasses in storytelling, and his thoughtful subversiveness decenters readers towards new dimensions of time, space and literature.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ocean Vuong appears on Thursday, April 4 and Friday, April 5 at BAMFA (2155 Center St., Berkeley). Both events are free and open to the general public, first come, first served. \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">Details here\u003c/a> and \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955263/ocean-vuong-berkeley-bampfa","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_2227","arts_1270","arts_4566","arts_4567","arts_585"],"featImg":"arts_13955268","label":"arts_140"},"arts_13954587":{"type":"posts","id":"arts_13954587","meta":{"index":"posts_1591205157","site":"arts","id":"13954587","score":null,"sort":[1711062586000]},"guestAuthors":[],"slug":"edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","title":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","publishDate":1711062586,"format":"standard","headTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13951535,arts_11023362,arts_13954039']MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","status":"publish","parent":0,"modified":1711063491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":815},"headData":{"title":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley | KQED","description":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","ogTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","ogDescription":"","ogImgId":"","twTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","twDescription":"","twImgId":"","socialTitle":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley %%page%% %%sep%% KQED"},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951535,arts_11023362,arts_13954039","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\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 films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_1270","arts_10278","arts_977","arts_14396","arts_585"],"featImg":"arts_13954590","label":"arts_140"},"arts_13936269":{"type":"posts","id":"arts_13936269","meta":{"index":"posts_1591205157","site":"arts","id":"13936269","score":null,"sort":[1697122858000]},"guestAuthors":[],"slug":"duane-linklater-mymothersside-bampfa-review","title":"In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects","publishDate":1697122858,"format":"standard","headTitle":"In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"At BAMPFA, a survey of the Omaskêko Cree artist’s work processes grief, dispossession and indifference with a commitment to remember.","status":"publish","parent":0,"modified":1705003242,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":992},"headData":{"title":"Duane Linklater at BAMPFA: Memory Buried in Indigenous Objects | KQED","description":"At BAMPFA, a survey of the Omaskêko Cree artist’s work processes grief, dispossession and indifference with a commitment to remember.","ogTitle":"In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects","ogDescription":"","ogImgId":"","twTitle":"In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects","twDescription":"","twImgId":"","socialTitle":"Duane Linklater at BAMPFA: Memory Buried in Indigenous Objects %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Champe Barton","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936269/duane-linklater-mymothersside-bampfa-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936269/duane-linklater-mymothersside-bampfa-review","authors":["byline_arts_13936269"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_769","arts_585"],"featImg":"arts_13936283","label":"arts_140"},"arts_13925374":{"type":"posts","id":"arts_13925374","meta":{"index":"posts_1591205157","site":"arts","id":"13925374","score":null,"sort":[1677092079000]},"guestAuthors":[],"slug":"frank-moore-paintings-bampfa-theater-of-human-melting-review","title":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","publishDate":1677092079,"format":"standard","headTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>[aside postID='arts_13835688']Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A solo exhibition at BAMPFA hints at the larger, thrilling world of multi-hyphenate artist Frank Moore.","status":"publish","parent":0,"modified":1705005817,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":848},"headData":{"title":"Franke Moore at BAMPFA: Paintings Capture an Artist’s Urgency | KQED","description":"A solo exhibition at BAMPFA hints at the larger, thrilling world of multi-hyphenate artist Frank Moore.","ogTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","ogDescription":"","ogImgId":"","twTitle":"Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy","twDescription":"","twImgId":"","socialTitle":"Franke Moore at BAMPFA: Paintings Capture an Artist’s Urgency %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925374/frank-moore-paintings-bampfa-theater-of-human-melting-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13835688","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925374/frank-moore-paintings-bampfa-theater-of-human-melting-review","authors":["11272"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10278","arts_2636","arts_585"],"featImg":"arts_13925375","label":"arts_140"},"arts_13924934":{"type":"posts","id":"arts_13924934","meta":{"index":"posts_1591205157","site":"arts","id":"13924934","score":null,"sort":[1676052581000]},"guestAuthors":[],"slug":"amalia-mesa-bains-archaeology-of-memory-bampfa-review","title":"Step Into the Shimmering World of Amalia Mesa-Bains at BAMPFA","publishDate":1676052581,"format":"standard","headTitle":"Step Into the Shimmering World of Amalia Mesa-Bains at BAMPFA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Sometimes I forget my own advice, which is to never accept a photograph of an artwork as a substitution for the real thing. Even the flattest painting has a different impact in 3D space, whether that comes from the interaction of colors, unexpected scale or the satisfying detail of a taped-off edge. And installation work — well, I should know better.\u003c/p>\n\u003cp>I stepped into the Berkeley Art Museum and Pacific Film Archive’s magnificent retrospective \u003ci>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains: Archaeology of Memory\u003c/a>\u003c/i> with a handful of static, slightly murky images in my mind. I was wholly unprepared for the reality of her work, with its luxurious textures, vibrant color choices and dense arrangements of found and cherished objects. The scent of lavender drifted through the climate-controlled galleries. The show, co-curated by Laura E. Pérez and María Esther Fernández, is Mesa-Bains’ first retrospective, and a return to the Bay Area, where she spent much of her career. \u003c/p>\n\u003cfigure id=\"attachment_13924982\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-9_1200.jpg\" alt=\"White chair in front of vanity with white fabric draped behind\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Venus Envy Chapter I: First Holy Communion, Moments Before the End,’ 1993/2022. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Archaeology of Memory\u003c/i> opens with \u003ci>Venus Envy Chapter I: First Holy Communion, Moments Before the End\u003c/i> (1993/2022), part of a series shown here in its entirety for the first time. This is not a gradual introduction to Mesa-Bains’ five-decades-long art practice, but a sudden submersion into an arrangement of object-filled vitrines, furniture, religious paraphernalia, wall works, handwritten text, a bauble-encrusted vanity and many, many mirrors.\u003c/p>\n\u003cp>That first gallery effected the same feeling I have in a well-stocked bookstore: “I’m never going to live long enough to absorb all of this information.” But we are not meant to read all the text, nor see all the images. In almost all of Mesa-Bains’ work, regardless of medium, there is a process of layering and obscuring. That unknowability becomes strategic. Mesa-Bains does the work of unearthing histories — Indigenous, Mexican, Chicanx, political, domestic, feminist — and merges them with her own memories, creating evocative amalgamations of object and symbol. For as complex and powerful as the work is, Mesa-Bains’ methods signal that there is still so much to uncover: more stories, more experiences, more structures to question and complicate.\u003c/p>\n\u003cfigure id=\"attachment_13924978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-10_1200.jpg\" alt=\"View of desk crowded with old-fashioned objects for studying and measuring, backgrounded by bright green wall\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘The Library of Sor Juana Inés de la Cruz,’ 1994/2021. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Library of Sor Juana Inés de la Cruz\u003c/i> (1994/2021), from \u003ci>Venus Envy Chapter II: The Harem and Other Enclosures\u003c/i>, Mesa-Bains imagines the desk of the 17th century Mexican writer, philosopher, poet and nun. Among magnifying glasses, globes and petri dishes dangles a receipt-like list of Latino populations in different metro areas across the United States, followed by prison populations and COVID statistics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the type of detail those preview images will always fail to depict. In each staging, an installation takes on a new and fresh form, simply by dint of assembling in a different space at a different time. This mutability nods to Mesa-Bains’ early work, which drew from her role as an altarista for Día de los Muertos celebrations. She connected with San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de la Raza\u003c/a> in 1971, and ofrendas became her medium of choice.\u003c/p>\n\u003cp>Things shifted toward permanence in the early 1990s, however, when she experienced major health issues and made a conscious move away from the ephemeral. Even so, the artworks that followed resist stillness. Objects repeat across installations (a noted challenge for the retrospective). The dried flowers and crushed glass that Mesa-Bains spreads around the bases of her pieces (a handy physical barrier that precludes the need for unsightly stanchions) are inherently unfixed.\u003c/p>\n\u003cfigure id=\"attachment_13924979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-12_1200.jpg\" alt=\"Moss covered female figure reclines on green rug looking at giant mirror\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Cihuateotl with Mirror in Private Landscapes and Public Territories,’ 1998-2011/2018. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that first gallery, each section of \u003ci>Archaeology of Memory\u003c/i> seems to get more and more breathing room, creating space for Mesa-Bains’ “aesthetic of accumulation” in the viewer’s own mind. The final piece in the show, \u003ci>An Ofrenda for Dolores del Rio\u003c/i> (1984/1991), is a sparkling and pink-hued homage to the Mexican actress that gets its own wide wall.\u003c/p>\n\u003cp>Throughout the show, Mesa-Bains’ work uses intricate beauty to broach serious topics: marginalized histories, personal loss and pain. But there is also great joy and love in these pieces, as well as a scholarly rigor and a hint of the pleasure that comes from investigating diverse narrative threads. In an 11-minute documentary directed by Raymond Telles, which plays on a screen at the center of the exhibition, Mesa-Bains says, “I have no embarrassment about being a narrative artist, I have no embarrassment about telling a story, because I think that’s kind of my job.”\u003c/p>\n\u003cfigure id=\"attachment_13924981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-2_1200.jpg\" alt=\"Framed photographs, film canisters and small objects flanked by pink curtains, ground covered in dried flowers\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Detail of ‘An Ofrenda for Dolores del Rio,’ 1984/1991. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s exciting and remarkable about her method of storytelling is that it exists in tangible, sculptural forms. It welcomes viewers in, and creates space for all the archeological work to come. In her catalog essay, co-curator Laura Pérez notes that Mesa-Bains has long been known within the Latinx art scene and among feminist artists of color, and has already influenced generations of younger artists. This retrospective, coming in Mesa-Bains’ 79th year, is almost a formality. But it’s an important formality, given the chronic underrepresentation of Latinx and Chicanx artists in museums — especially in a state like California, which owes so much of its history, culture and future to its Latino population.\u003c/p>\n\u003cp>Don’t miss the opportunity to have Amalia Mesa-Bains’ work take up residence in your own memories.\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>‘Amalia Mesa-Bains: Archaeology of Memory’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 23. \u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Chicana artist returns to the Bay Area with a magnificent display of large-scale installations. ","status":"publish","parent":0,"modified":1705005860,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1021},"headData":{"title":"Review: Amalia Mesa-Bains Retrospective Shimmers at BAMPFA | KQED","description":"The Chicana artist returns to the Bay Area with a magnificent display of large-scale installations. ","ogTitle":"Step Into the Shimmering World of Amalia Mesa-Bains at BAMPFA","ogDescription":"","ogImgId":"","twTitle":"Step Into the Shimmering World of Amalia Mesa-Bains at BAMPFA","twDescription":"","twImgId":"","socialTitle":"Review: Amalia Mesa-Bains Retrospective Shimmers at BAMPFA %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes I forget my own advice, which is to never accept a photograph of an artwork as a substitution for the real thing. Even the flattest painting has a different impact in 3D space, whether that comes from the interaction of colors, unexpected scale or the satisfying detail of a taped-off edge. And installation work — well, I should know better.\u003c/p>\n\u003cp>I stepped into the Berkeley Art Museum and Pacific Film Archive’s magnificent retrospective \u003ci>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains: Archaeology of Memory\u003c/a>\u003c/i> with a handful of static, slightly murky images in my mind. I was wholly unprepared for the reality of her work, with its luxurious textures, vibrant color choices and dense arrangements of found and cherished objects. The scent of lavender drifted through the climate-controlled galleries. The show, co-curated by Laura E. Pérez and María Esther Fernández, is Mesa-Bains’ first retrospective, and a return to the Bay Area, where she spent much of her career. \u003c/p>\n\u003cfigure id=\"attachment_13924982\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-9_1200.jpg\" alt=\"White chair in front of vanity with white fabric draped behind\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Venus Envy Chapter I: First Holy Communion, Moments Before the End,’ 1993/2022. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Archaeology of Memory\u003c/i> opens with \u003ci>Venus Envy Chapter I: First Holy Communion, Moments Before the End\u003c/i> (1993/2022), part of a series shown here in its entirety for the first time. This is not a gradual introduction to Mesa-Bains’ five-decades-long art practice, but a sudden submersion into an arrangement of object-filled vitrines, furniture, religious paraphernalia, wall works, handwritten text, a bauble-encrusted vanity and many, many mirrors.\u003c/p>\n\u003cp>That first gallery effected the same feeling I have in a well-stocked bookstore: “I’m never going to live long enough to absorb all of this information.” But we are not meant to read all the text, nor see all the images. In almost all of Mesa-Bains’ work, regardless of medium, there is a process of layering and obscuring. That unknowability becomes strategic. Mesa-Bains does the work of unearthing histories — Indigenous, Mexican, Chicanx, political, domestic, feminist — and merges them with her own memories, creating evocative amalgamations of object and symbol. For as complex and powerful as the work is, Mesa-Bains’ methods signal that there is still so much to uncover: more stories, more experiences, more structures to question and complicate.\u003c/p>\n\u003cfigure id=\"attachment_13924978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-10_1200.jpg\" alt=\"View of desk crowded with old-fashioned objects for studying and measuring, backgrounded by bright green wall\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘The Library of Sor Juana Inés de la Cruz,’ 1994/2021. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Library of Sor Juana Inés de la Cruz\u003c/i> (1994/2021), from \u003ci>Venus Envy Chapter II: The Harem and Other Enclosures\u003c/i>, Mesa-Bains imagines the desk of the 17th century Mexican writer, philosopher, poet and nun. Among magnifying glasses, globes and petri dishes dangles a receipt-like list of Latino populations in different metro areas across the United States, followed by prison populations and COVID statistics.\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>This is the type of detail those preview images will always fail to depict. In each staging, an installation takes on a new and fresh form, simply by dint of assembling in a different space at a different time. This mutability nods to Mesa-Bains’ early work, which drew from her role as an altarista for Día de los Muertos celebrations. She connected with San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de la Raza\u003c/a> in 1971, and ofrendas became her medium of choice.\u003c/p>\n\u003cp>Things shifted toward permanence in the early 1990s, however, when she experienced major health issues and made a conscious move away from the ephemeral. Even so, the artworks that followed resist stillness. Objects repeat across installations (a noted challenge for the retrospective). The dried flowers and crushed glass that Mesa-Bains spreads around the bases of her pieces (a handy physical barrier that precludes the need for unsightly stanchions) are inherently unfixed.\u003c/p>\n\u003cfigure id=\"attachment_13924979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-12_1200.jpg\" alt=\"Moss covered female figure reclines on green rug looking at giant mirror\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Cihuateotl with Mirror in Private Landscapes and Public Territories,’ 1998-2011/2018. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that first gallery, each section of \u003ci>Archaeology of Memory\u003c/i> seems to get more and more breathing room, creating space for Mesa-Bains’ “aesthetic of accumulation” in the viewer’s own mind. The final piece in the show, \u003ci>An Ofrenda for Dolores del Rio\u003c/i> (1984/1991), is a sparkling and pink-hued homage to the Mexican actress that gets its own wide wall.\u003c/p>\n\u003cp>Throughout the show, Mesa-Bains’ work uses intricate beauty to broach serious topics: marginalized histories, personal loss and pain. But there is also great joy and love in these pieces, as well as a scholarly rigor and a hint of the pleasure that comes from investigating diverse narrative threads. In an 11-minute documentary directed by Raymond Telles, which plays on a screen at the center of the exhibition, Mesa-Bains says, “I have no embarrassment about being a narrative artist, I have no embarrassment about telling a story, because I think that’s kind of my job.”\u003c/p>\n\u003cfigure id=\"attachment_13924981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-2_1200.jpg\" alt=\"Framed photographs, film canisters and small objects flanked by pink curtains, ground covered in dried flowers\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Detail of ‘An Ofrenda for Dolores del Rio,’ 1984/1991. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s exciting and remarkable about her method of storytelling is that it exists in tangible, sculptural forms. It welcomes viewers in, and creates space for all the archeological work to come. In her catalog essay, co-curator Laura Pérez notes that Mesa-Bains has long been known within the Latinx art scene and among feminist artists of color, and has already influenced generations of younger artists. This retrospective, coming in Mesa-Bains’ 79th year, is almost a formality. But it’s an important formality, given the chronic underrepresentation of Latinx and Chicanx artists in museums — especially in a state like California, which owes so much of its history, culture and future to its Latino population.\u003c/p>\n\u003cp>Don’t miss the opportunity to have Amalia Mesa-Bains’ work take up residence in your own memories.\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>‘Amalia Mesa-Bains: Archaeology of Memory’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 23. \u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_2227","arts_10278","arts_769","arts_585","arts_901"],"featImg":"arts_13924980","label":"arts_140"},"arts_13923241":{"type":"posts","id":"arts_13923241","meta":{"index":"posts_1591205157","site":"arts","id":"13923241","score":null,"sort":[1672857049000]},"guestAuthors":[],"slug":"bay-area-visual-art-guide-early-2023","title":"Art to See at the Start of 2023","publishDate":1672857049,"format":"aside","headTitle":"Art to See at the Start of 2023 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I have few predictions to make about the coming year in Bay Area visual arts, which is actually a good thing. Exhibitions and spaces that were backlogged due to the pandemic seem to have cleared their schedules, so there will be less phrases like “long-awaited” and “much-delayed” in my 2023 introductory paragraphs.\u003c/p>\n\u003cp>Looking ahead a few months into the future, there’s plenty of excitement to be had: new spaces, new commissions from local artists and large-scale attention given to pivotal, yet lesser-known figures in visual art. This is a mere sampling of all that’s in store — if you put “see more art” on your list of New Year’s resolutions, you’re in luck.\u003c/p>\n\u003cfigure id=\"attachment_13923137\" class=\"wp-caption aligncenter\" style=\"max-width: 983px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png\" alt=\"Two Asian women in white hold plants and read from strips of paper next to bowl of dry ice\" width=\"983\" height=\"655\" class=\"size-full wp-image-13923137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png 983w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-768x512.png 768w\" sizes=\"(max-width: 983px) 100vw, 983px\">\u003cfigcaption class=\"wp-caption-text\">Gao Ling, photo of ‘Curve Restaurant,’ a site-specific installation and performance, 2017. \u003ccite>(Courtesy of artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.com/\">‘Learning to Land: A Story of Crossing Paths and Intergenerational Histories’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Edge on the Square, 800 Grant Ave., San Francisco\u003cbr>\nJan. 13–May 31\u003c/i>\u003c/p>\n\u003cp>Following up on last year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival\">Neon Was Never Brighter\u003c/a>\u003c/i>, a daylong contemporary arts festival that filled the streets and venues of San Francisco’s Chinatown, the Chinatown Media & Arts Collaborative presents its first exhibition at Edge on the Square (so named for being just up the street from Portsmouth Square). \u003ci>Learning to Land\u003c/i>, organized by Edge on the Square’s head curator Candace Huey, features work from Benjamen Chinn, Gao Ling, Lenore Chinn, Sasinun Kladpetch and Sherwin Rio. In the spirit of crossing paths and meaningful exchange, the show includes a conceptual shop that invites visitors to share their personal experiences of Chinatown in “tangible or intangible forms” (say, a story), which can then be swapped for an item from the shop.\u003c/p>\n\u003cfigure id=\"attachment_13923251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg\" alt=\"Small bundles of light straw tied together against black background\" width=\"800\" height=\"585\" class=\"size-full wp-image-13923251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-768x562.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunny A. Smith, an example of work from ‘The Compass Rose’ at Fort Mason Center for Arts & Culture. \u003ccite>(Courtesy the artist at FMCAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fortmason.org/event/sunny-a-smith-the-compass-rose/\">Sunny A. Smith, ‘The Compass Rose’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 13–March 12\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fort Mason’s Gallery 308 will once again fill with an ambitious installation, this time courtesy of local artist \u003ca href=\"https://sunnyasmith.com/\">Sunny A. Smith\u003c/a>, who utilizes their own family history and the objects passed down through generations to create a new material legacy. \u003ci>The Compass Rose\u003c/i> combines several major new pieces alongside work from the past two decades, highlighting objects made through apprenticeships and collaborations with traditional crafts practitioners. For Smith, the process of learning and making in these old, slower ways becomes an act of repair — directly addressing the trauma their ancestors experienced and their family’s role in this country’s colonial history. But there’s a magical element here as well, with heirlooms recast as instruments of spiritual communication and time travel.\u003c/p>\n\u003cfigure id=\"attachment_13923252\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg\" alt=\"Red-tinged image of electrical box with data readings on screen\" width=\"1706\" height=\"2560\" class=\"size-full wp-image-13923252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Mathew Kneebone, ‘Last Terminal.’ \u003ccite>(Courtesy /)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.slashart.org/through-the-electric-grid-promised-land/\">‘through the electric grid promised land…’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>/ (Slash), San Francisco\u003cbr>\nJan. 14–April 22\u003c/i>\u003c/p>\n\u003cp>When Cloaca Projects \u003ca href=\"https://www.kqed.org/arts/13910857/cloaca-projects-history-ambulatory-kerri-conlon\">closed last April\u003c/a>, it left a shed-sized hole in our Bay Area visual art scene, one that was both welcoming \u003ci>and\u003c/i> experimental, a rare combination in a field that can be as alienating as it is beautiful. Great news: the team behind Cloaca (marcella faustini and Charlie Leese) is curating the first show of the year for / (aka Slash), featuring works by Mathew Kneebone, Most Dismal Swamp and local radio stations. The show’s title comes from a book by the artist Derek Jarman, a narrative about the “power and shortcomings of infrastructures” and their effect on cultural communities. As a bonus, a small accompanying show will open the same day with paintings by \u003ca href=\"https://www.instagram.com/mark_t_duffy/\">Mark T. Duffy\u003c/a>, alongside an exhibition and reading room curated by \u003ca href=\"http://www.pjpolicarpio.net/\">PJ Gubatina Policarpio\u003c/a> in /’s library.\u003c/p>\n\u003cfigure id=\"attachment_13923253\" class=\"wp-caption aligncenter\" style=\"max-width: 1267px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg\" alt=\"Drawing of drag queen in nun's habit with dramatic eye makeup and yellow veil\" width=\"1267\" height=\"1600\" class=\"size-full wp-image-13923253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg 1267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-800x1010.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1020x1288.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-160x202.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-768x970.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1216x1536.jpeg 1216w\" sizes=\"(max-width: 1267px) 100vw, 1267px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Sister Zsa Zsa Glamour,’ 1997; Watercolor, colored pencil, graphite on paper, 20 1/8 x 16 in. \u003ccite>(Courtesy Altman Siegel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beth Van Hoesen, ‘Punks and Sisters’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"http://altmansiegel.com/\">Altman Siegel\u003c/a>, San Francisco\u003cbr>\nJan. 17–Feb. 25\u003c/i>\u003c/p>\n\u003cp>For nearly 50 years, San Francisco artist Beth Van Hoesen lived and worked in the Castro neighborhood, where she hosted a drawing circle for local artists (many now household names) to work from a live model. Today, Van Hoesen, who died in 2010, is primarily known as a printmaker, but she continued her practice of portraiture throughout her career, turning her attention in the ’80s and ’90s to the people of the Castro, including the Sisters of Perpetual Indulgence and the emerging punk scene. These drawings are delicate and precise — almost scientific — renderings of piercings, bold makeup and, sometimes, individual strands of vibrant pink hair.\u003c/p>\n\u003cfigure id=\"attachment_13923254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"974\" class=\"size-full wp-image-13923254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-800x649.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-768x623.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Etel Adnan, ‘Untitled,’ 2010; Oil on canvas. \u003ccite>(Photo by Chris Grunder, San Francisco; Courtesy Anthony Meier, Mill Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.anthonymeier.com/exhibitions/in-the-shadow-of-mt-tam\">‘In the Shadow of Mt. Tam’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anthony Meier, Mill Valley\u003cbr>\nJan. 31–March 17\u003c/i>\u003c/p>\n\u003cp>To mark Anthony Meier’s move from Pacific Heights to Mill Valley, the gallery’s first exhibition in its new location looks to Marin County’s rich artistic history. Spanning the 1940s to the 1970s, the show includes Bay Area favorite Etel Adnan, for whom Mount Tamalpais was a frequent subject and muse. Other artists in the group show include JB Blunk, Jess Collins, Jay DeFeo, Luchita Hurtado, David Ireland and Barbara Stauffacher Solomon. The move doubles the gallery’s square footage, which should yield even more ambitious installations from contemporary artists in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13923255\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg\" alt=\"Doubled image of religious figure, one with insides show, other with Virgin of Guadalupe\" width=\"1200\" height=\"1072\" class=\"size-full wp-image-13923255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-768x686.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, ‘Guadalupe Twins in Venus Envy, Chapter III: Cihuatlampa,’ 1997; Giclee print; 14 x 36 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains, ‘Archaeology of Memory’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nFeb. 4–July 23\u003c/i>\u003c/p>\n\u003cp>Fresh on the heels of their \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles retrospective\u003c/a>, BAMPFA honors yet another worthy living artist with an Amalia Mesa-Bains retrospective, tracing over three decades of the 79-year-old artist’s career as a leading figure of Chicanx art. Featuring several of her well-known “altar-installations,” the show will also include multimedia work, prints and books, along with the premiere of a new short documentary directed by Ray Telles. Throughout her career, Mesa-Bains has made tangible and visible the contributions of women, immigrants and people of color to our collective histories. It’s beyond time that work was gathered in one place for concentrated, well-deserved attention.\u003c/p>\n\u003cfigure id=\"attachment_13923260\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg\" alt=\"Sculpture of arched clay and cage wire with dangling elements, sitting on polka-dot base\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13923260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sew Hoy, ‘Digital Ocean, spawn,’ 2022. \u003ccite>(Courtesy the artist; Photo by Edgar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Work: Anna Sew Hoy’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\nMarch 25–July 16\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Los Angeles artist \u003ca href=\"http://annasewhoy.info/\">Anna Sew Hoy\u003c/a> brings her recent multimedia work to SFMOMA for the museum’s “New Work” series, showing sculptural installations made from clay arches, found metal cages and everyday objects (like keys, denim scraps, device charging cables). The resulting artworks look like beautifully chaotic enrichment environments for animals in dire need of stimulation, which is perhaps a fitting description for the state of humanity these days.\u003c/p>\n\n","blocks":[],"excerpt":"If you put ‘more art’ on your list of resolutions, Bay Area galleries and museums have you covered.","status":"publish","parent":0,"modified":1705006014,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1208},"headData":{"title":"Your Bay Area Visual Art Guide for Early 2023 | KQED","description":"If you put ‘more art’ on your list of resolutions, Bay Area galleries and museums have you covered.","ogTitle":"Bay Area Art to See at the Start of 2023","ogDescription":"","ogImgId":"","twTitle":"Bay Area Art to See at the Start of 2023","twDescription":"","twImgId":"","socialTitle":"Your Bay Area Visual Art Guide for Early 2023 %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923241/bay-area-visual-art-guide-early-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have few predictions to make about the coming year in Bay Area visual arts, which is actually a good thing. Exhibitions and spaces that were backlogged due to the pandemic seem to have cleared their schedules, so there will be less phrases like “long-awaited” and “much-delayed” in my 2023 introductory paragraphs.\u003c/p>\n\u003cp>Looking ahead a few months into the future, there’s plenty of excitement to be had: new spaces, new commissions from local artists and large-scale attention given to pivotal, yet lesser-known figures in visual art. This is a mere sampling of all that’s in store — if you put “see more art” on your list of New Year’s resolutions, you’re in luck.\u003c/p>\n\u003cfigure id=\"attachment_13923137\" class=\"wp-caption aligncenter\" style=\"max-width: 983px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png\" alt=\"Two Asian women in white hold plants and read from strips of paper next to bowl of dry ice\" width=\"983\" height=\"655\" class=\"size-full wp-image-13923137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png 983w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-768x512.png 768w\" sizes=\"(max-width: 983px) 100vw, 983px\">\u003cfigcaption class=\"wp-caption-text\">Gao Ling, photo of ‘Curve Restaurant,’ a site-specific installation and performance, 2017. \u003ccite>(Courtesy of artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.com/\">‘Learning to Land: A Story of Crossing Paths and Intergenerational Histories’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Edge on the Square, 800 Grant Ave., San Francisco\u003cbr>\nJan. 13–May 31\u003c/i>\u003c/p>\n\u003cp>Following up on last year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival\">Neon Was Never Brighter\u003c/a>\u003c/i>, a daylong contemporary arts festival that filled the streets and venues of San Francisco’s Chinatown, the Chinatown Media & Arts Collaborative presents its first exhibition at Edge on the Square (so named for being just up the street from Portsmouth Square). \u003ci>Learning to Land\u003c/i>, organized by Edge on the Square’s head curator Candace Huey, features work from Benjamen Chinn, Gao Ling, Lenore Chinn, Sasinun Kladpetch and Sherwin Rio. In the spirit of crossing paths and meaningful exchange, the show includes a conceptual shop that invites visitors to share their personal experiences of Chinatown in “tangible or intangible forms” (say, a story), which can then be swapped for an item from the shop.\u003c/p>\n\u003cfigure id=\"attachment_13923251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg\" alt=\"Small bundles of light straw tied together against black background\" width=\"800\" height=\"585\" class=\"size-full wp-image-13923251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-768x562.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunny A. Smith, an example of work from ‘The Compass Rose’ at Fort Mason Center for Arts & Culture. \u003ccite>(Courtesy the artist at FMCAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fortmason.org/event/sunny-a-smith-the-compass-rose/\">Sunny A. Smith, ‘The Compass Rose’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 13–March 12\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>Fort Mason’s Gallery 308 will once again fill with an ambitious installation, this time courtesy of local artist \u003ca href=\"https://sunnyasmith.com/\">Sunny A. Smith\u003c/a>, who utilizes their own family history and the objects passed down through generations to create a new material legacy. \u003ci>The Compass Rose\u003c/i> combines several major new pieces alongside work from the past two decades, highlighting objects made through apprenticeships and collaborations with traditional crafts practitioners. For Smith, the process of learning and making in these old, slower ways becomes an act of repair — directly addressing the trauma their ancestors experienced and their family’s role in this country’s colonial history. But there’s a magical element here as well, with heirlooms recast as instruments of spiritual communication and time travel.\u003c/p>\n\u003cfigure id=\"attachment_13923252\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg\" alt=\"Red-tinged image of electrical box with data readings on screen\" width=\"1706\" height=\"2560\" class=\"size-full wp-image-13923252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Mathew Kneebone, ‘Last Terminal.’ \u003ccite>(Courtesy /)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.slashart.org/through-the-electric-grid-promised-land/\">‘through the electric grid promised land…’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>/ (Slash), San Francisco\u003cbr>\nJan. 14–April 22\u003c/i>\u003c/p>\n\u003cp>When Cloaca Projects \u003ca href=\"https://www.kqed.org/arts/13910857/cloaca-projects-history-ambulatory-kerri-conlon\">closed last April\u003c/a>, it left a shed-sized hole in our Bay Area visual art scene, one that was both welcoming \u003ci>and\u003c/i> experimental, a rare combination in a field that can be as alienating as it is beautiful. Great news: the team behind Cloaca (marcella faustini and Charlie Leese) is curating the first show of the year for / (aka Slash), featuring works by Mathew Kneebone, Most Dismal Swamp and local radio stations. The show’s title comes from a book by the artist Derek Jarman, a narrative about the “power and shortcomings of infrastructures” and their effect on cultural communities. As a bonus, a small accompanying show will open the same day with paintings by \u003ca href=\"https://www.instagram.com/mark_t_duffy/\">Mark T. Duffy\u003c/a>, alongside an exhibition and reading room curated by \u003ca href=\"http://www.pjpolicarpio.net/\">PJ Gubatina Policarpio\u003c/a> in /’s library.\u003c/p>\n\u003cfigure id=\"attachment_13923253\" class=\"wp-caption aligncenter\" style=\"max-width: 1267px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg\" alt=\"Drawing of drag queen in nun's habit with dramatic eye makeup and yellow veil\" width=\"1267\" height=\"1600\" class=\"size-full wp-image-13923253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg 1267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-800x1010.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1020x1288.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-160x202.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-768x970.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1216x1536.jpeg 1216w\" sizes=\"(max-width: 1267px) 100vw, 1267px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Sister Zsa Zsa Glamour,’ 1997; Watercolor, colored pencil, graphite on paper, 20 1/8 x 16 in. \u003ccite>(Courtesy Altman Siegel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beth Van Hoesen, ‘Punks and Sisters’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"http://altmansiegel.com/\">Altman Siegel\u003c/a>, San Francisco\u003cbr>\nJan. 17–Feb. 25\u003c/i>\u003c/p>\n\u003cp>For nearly 50 years, San Francisco artist Beth Van Hoesen lived and worked in the Castro neighborhood, where she hosted a drawing circle for local artists (many now household names) to work from a live model. Today, Van Hoesen, who died in 2010, is primarily known as a printmaker, but she continued her practice of portraiture throughout her career, turning her attention in the ’80s and ’90s to the people of the Castro, including the Sisters of Perpetual Indulgence and the emerging punk scene. These drawings are delicate and precise — almost scientific — renderings of piercings, bold makeup and, sometimes, individual strands of vibrant pink hair.\u003c/p>\n\u003cfigure id=\"attachment_13923254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"974\" class=\"size-full wp-image-13923254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-800x649.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-768x623.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Etel Adnan, ‘Untitled,’ 2010; Oil on canvas. \u003ccite>(Photo by Chris Grunder, San Francisco; Courtesy Anthony Meier, Mill Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.anthonymeier.com/exhibitions/in-the-shadow-of-mt-tam\">‘In the Shadow of Mt. Tam’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anthony Meier, Mill Valley\u003cbr>\nJan. 31–March 17\u003c/i>\u003c/p>\n\u003cp>To mark Anthony Meier’s move from Pacific Heights to Mill Valley, the gallery’s first exhibition in its new location looks to Marin County’s rich artistic history. Spanning the 1940s to the 1970s, the show includes Bay Area favorite Etel Adnan, for whom Mount Tamalpais was a frequent subject and muse. Other artists in the group show include JB Blunk, Jess Collins, Jay DeFeo, Luchita Hurtado, David Ireland and Barbara Stauffacher Solomon. The move doubles the gallery’s square footage, which should yield even more ambitious installations from contemporary artists in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13923255\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg\" alt=\"Doubled image of religious figure, one with insides show, other with Virgin of Guadalupe\" width=\"1200\" height=\"1072\" class=\"size-full wp-image-13923255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-768x686.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, ‘Guadalupe Twins in Venus Envy, Chapter III: Cihuatlampa,’ 1997; Giclee print; 14 x 36 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains, ‘Archaeology of Memory’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nFeb. 4–July 23\u003c/i>\u003c/p>\n\u003cp>Fresh on the heels of their \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles retrospective\u003c/a>, BAMPFA honors yet another worthy living artist with an Amalia Mesa-Bains retrospective, tracing over three decades of the 79-year-old artist’s career as a leading figure of Chicanx art. Featuring several of her well-known “altar-installations,” the show will also include multimedia work, prints and books, along with the premiere of a new short documentary directed by Ray Telles. Throughout her career, Mesa-Bains has made tangible and visible the contributions of women, immigrants and people of color to our collective histories. It’s beyond time that work was gathered in one place for concentrated, well-deserved attention.\u003c/p>\n\u003cfigure id=\"attachment_13923260\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg\" alt=\"Sculpture of arched clay and cage wire with dangling elements, sitting on polka-dot base\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13923260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sew Hoy, ‘Digital Ocean, spawn,’ 2022. \u003ccite>(Courtesy the artist; Photo by Edgar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Work: Anna Sew Hoy’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\nMarch 25–July 16\u003c/i>\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>Los Angeles artist \u003ca href=\"http://annasewhoy.info/\">Anna Sew Hoy\u003c/a> brings her recent multimedia work to SFMOMA for the museum’s “New Work” series, showing sculptural installations made from clay arches, found metal cages and everyday objects (like keys, denim scraps, device charging cables). The resulting artworks look like beautifully chaotic enrichment environments for animals in dire need of stimulation, which is perhaps a fitting description for the state of humanity these days.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923241/bay-area-visual-art-guide-early-2023","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10342","arts_15146","arts_2013","arts_3649","arts_1381","arts_585"],"featImg":"arts_13923253","label":"arts_140"},"arts_13922385":{"type":"posts","id":"arts_13922385","meta":{"index":"posts_1591205157","site":"arts","id":"13922385","score":null,"sort":[1670444924000]},"guestAuthors":[],"slug":"best-visual-art-bay-area-2022","title":"The Best Art I Saw in 2022","publishDate":1670444924,"format":"aside","headTitle":"The Best Art I Saw in 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","status":"publish","parent":0,"modified":1705006085,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1222},"headData":{"title":"The Best of 2022: Bay Area Visual Art | KQED","description":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","ogTitle":"The Best Art I Saw in 2022","ogDescription":"","ogImgId":"","twTitle":"The Best Art I Saw in 2022","twDescription":"","twImgId":"","socialTitle":"The Best of 2022: Bay Area Visual Art %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922385/best-visual-art-bay-area-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\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>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\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>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922385/best-visual-art-bay-area-2022","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_3835","arts_10342","arts_10278","arts_3226","arts_2755","arts_901","arts_6487"],"featImg":"arts_13922423","label":"arts"},"arts_13921411":{"type":"posts","id":"arts_13921411","meta":{"index":"posts_1591205157","site":"arts","id":"13921411","score":null,"sort":[1667954450000]},"guestAuthors":[],"slug":"new-lebanese-cinema-70s-80s-bampfa","title":"Poetic, Powerful Lebanese Cinema of the ’70s and ’80s Comes to BAMPFA","publishDate":1667954450,"format":"standard","headTitle":"Poetic, Powerful Lebanese Cinema of the ’70s and ’80s Comes to BAMPFA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the midst of the Lebanese Civil War, filmmakers Borhane Alaouié, Jocelyne Saab and Heiny Srour turned their cameras to both the large-scale destruction and small moments of beauty that surrounded them. Their work was an extension of their political activism, which connected them to people and movements across the pan-Arab world. In atmospheric documentaries and inventive narrative films centered on Beirut, these filmmakers depicted the senselessness of war and how ordinary people — especially women and children — bear the brunt of conflict.\u003c/p>\n\u003cp>Timed to fit within the larger program of the \u003ca href=\"https://aff2022.eventive.org/welcome\">Arab Film Festival\u003c/a> (running both virtually and at Bay Area theaters Nov. 10–20), “\u003ca href=\"https://bampfa.org/program/new-lebanese-cinema-1970s-and-1980s\">The New Lebanese Cinema of the 1970s and 1980s\u003c/a>,” screens five newly restored films at the Berkeley Art Museum and Pacific Film Archive between Nov. 10 and 17.\u003c/p>\n\u003cp>[aside postID='arts_13907271']The series, which was curated by Jonathan Mackris, begins this Thursday with Saab’s “\u003ca href=\"https://bampfa.org/event/jocelyne-saab-beirut-trilogy\">Beirut Trilogy\u003c/a>” of \u003ci>Beirut, Never Again\u003c/i> (1976), \u003ci>Letter from Beirut\u003c/i> (1978) and \u003ci>Beirut, My City\u003c/i> (1982). The films represent a shift in her approach to documentary filmmaking, away from a traditional format into a more personal and essayistic style (the first two feature text written by the Lebanese poet \u003ca href=\"https://www.kqed.org/arts/13907271/etel-adnan-remembrance-poet-painter\">Etel Adnan\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_13921414\" class=\"wp-caption aligncenter\" style=\"max-width: 2239px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Saab_Beirut_My-City_001.png\" alt=\"Woman with dark hair holds mic in burned and roofless house\" width=\"2239\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001.png 2239w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-800x643.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1020x820.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-768x617.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1536x1235.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-2048x1646.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1920x1544.png 1920w\" sizes=\"(max-width: 2239px) 100vw, 2239px\">\u003cfigcaption class=\"wp-caption-text\">Jocelyne Saab stands in her destroyed home in a still from ‘Beirut, My City,’ 1982. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the span of the three films, images and people reappear, ever more degraded or disappeared. The horse track that offered some semblance of normalcy in \u003ci>Letter from Beirut\u003c/i> is a pile of broken concrete in \u003ci>Beirut, My City\u003c/i>. In each successive film, Saab moves farther out from behind the camera as the impact of the war on her own life grows. By 1982, she is standing in her bombed-out home. “We don’t know who will rebuild it,” she says. “We don’t know who we are anymore.”\u003c/p>\n\u003cp>Alaouié’s \u003ci>\u003ca href=\"https://bampfa.org/event/beirut-encounter\">Beirut the Encounter\u003c/a>\u003c/i> (1981), screening Sunday, Nov. 13, takes the bombed and bullet-marked backdrops of Saab’s Beirut Trilogy and plots a quiet story of attempted reunification across them. A Muslim man and a Christian woman, former classmates and friends, have been separated by the war for two years. With telephone lines between East and West Beirut newly reconnected, they plan to meet in person before the woman leaves for better opportunities in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following their journeys across checkpoints and traffic jams, the film documents a changed and still-divided city, questioning whether these friends will ever physically (or emotionally) reconnect. As the man says in a recording meant for his friend, there is a chasm between any two people in Beirut: the 60,000 killed in the civil war.\u003c/p>\n\u003cfigure id=\"attachment_13921415\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001.jpg\" alt=\"Woman in white dress faces a group of women seated in black burqas on beach\" width=\"970\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-768x512.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">A still from Heiny Srour’s ‘Leila and the Wolves,’ 1984. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series’ final film, screening Thursday, Nov. 17, zooms out from the Lebanese Civil War to draw parallels between the conflict and Palestine’s 20th-century history. \u003ci>\u003ca href=\"https://bampfa.org/event/leila-and-wolves\">Leila and the Wolves\u003c/a>\u003c/i> (1984) uses a hybrid format punctuated with powerful and magical imagery. Scattered with documentary footage, the film reenacts historical moments to dwell on women’s unacknowledged contributions to anti-colonial struggles.\u003c/p>\n\u003cp>Our guide is Leila, a Lebanese woman hanging a political art show in London, who sets off on her journey to counter a male colleague’s belief that, in the past, women had nothing to do with politics. In each vignette, Srour depicts the courage of women and girls alongside and independent of their male counterparts, and the ways that patriarchal structures within resistance movements deprive them of agency.\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 New Lebanese Cinema of the 1970s and 1980s’ plays at the Berkeley Art Museum and Pacific Film Archive Nov. 10–17. \u003ca href=\"https://bampfa.org/program/new-lebanese-cinema-1970s-and-1980s\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Films by Borhane Alaouié, Jocelyne Saab and Heiny Srour capture the human toll of the Lebanese Civil War.","status":"publish","parent":0,"modified":1705006175,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":645},"headData":{"title":"‘New Lebanese Cinema’ Brings Powerful Films to BAMPFA | KQED","description":"Films by Borhane Alaouié, Jocelyne Saab and Heiny Srour capture the human toll of the Lebanese Civil War.","ogTitle":"Poetic, Powerful Lebanese Cinema of the ’70s and ’80s Comes to BAMPFA","ogDescription":"","ogImgId":"","twTitle":"Poetic, Powerful Lebanese Cinema of the ’70s and ’80s Comes to BAMPFA","twDescription":"","twImgId":"","socialTitle":"‘New Lebanese Cinema’ Brings Powerful Films to BAMPFA %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921411/new-lebanese-cinema-70s-80s-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the midst of the Lebanese Civil War, filmmakers Borhane Alaouié, Jocelyne Saab and Heiny Srour turned their cameras to both the large-scale destruction and small moments of beauty that surrounded them. Their work was an extension of their political activism, which connected them to people and movements across the pan-Arab world. In atmospheric documentaries and inventive narrative films centered on Beirut, these filmmakers depicted the senselessness of war and how ordinary people — especially women and children — bear the brunt of conflict.\u003c/p>\n\u003cp>Timed to fit within the larger program of the \u003ca href=\"https://aff2022.eventive.org/welcome\">Arab Film Festival\u003c/a> (running both virtually and at Bay Area theaters Nov. 10–20), “\u003ca href=\"https://bampfa.org/program/new-lebanese-cinema-1970s-and-1980s\">The New Lebanese Cinema of the 1970s and 1980s\u003c/a>,” screens five newly restored films at the Berkeley Art Museum and Pacific Film Archive between Nov. 10 and 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907271","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The series, which was curated by Jonathan Mackris, begins this Thursday with Saab’s “\u003ca href=\"https://bampfa.org/event/jocelyne-saab-beirut-trilogy\">Beirut Trilogy\u003c/a>” of \u003ci>Beirut, Never Again\u003c/i> (1976), \u003ci>Letter from Beirut\u003c/i> (1978) and \u003ci>Beirut, My City\u003c/i> (1982). The films represent a shift in her approach to documentary filmmaking, away from a traditional format into a more personal and essayistic style (the first two feature text written by the Lebanese poet \u003ca href=\"https://www.kqed.org/arts/13907271/etel-adnan-remembrance-poet-painter\">Etel Adnan\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_13921414\" class=\"wp-caption aligncenter\" style=\"max-width: 2239px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Saab_Beirut_My-City_001.png\" alt=\"Woman with dark hair holds mic in burned and roofless house\" width=\"2239\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001.png 2239w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-800x643.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1020x820.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-768x617.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1536x1235.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-2048x1646.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Saab_Beirut_My-City_001-1920x1544.png 1920w\" sizes=\"(max-width: 2239px) 100vw, 2239px\">\u003cfigcaption class=\"wp-caption-text\">Jocelyne Saab stands in her destroyed home in a still from ‘Beirut, My City,’ 1982. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the span of the three films, images and people reappear, ever more degraded or disappeared. The horse track that offered some semblance of normalcy in \u003ci>Letter from Beirut\u003c/i> is a pile of broken concrete in \u003ci>Beirut, My City\u003c/i>. In each successive film, Saab moves farther out from behind the camera as the impact of the war on her own life grows. By 1982, she is standing in her bombed-out home. “We don’t know who will rebuild it,” she says. “We don’t know who we are anymore.”\u003c/p>\n\u003cp>Alaouié’s \u003ci>\u003ca href=\"https://bampfa.org/event/beirut-encounter\">Beirut the Encounter\u003c/a>\u003c/i> (1981), screening Sunday, Nov. 13, takes the bombed and bullet-marked backdrops of Saab’s Beirut Trilogy and plots a quiet story of attempted reunification across them. A Muslim man and a Christian woman, former classmates and friends, have been separated by the war for two years. With telephone lines between East and West Beirut newly reconnected, they plan to meet in person before the woman leaves for better opportunities in the United States.\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>Following their journeys across checkpoints and traffic jams, the film documents a changed and still-divided city, questioning whether these friends will ever physically (or emotionally) reconnect. As the man says in a recording meant for his friend, there is a chasm between any two people in Beirut: the 60,000 killed in the civil war.\u003c/p>\n\u003cfigure id=\"attachment_13921415\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001.jpg\" alt=\"Woman in white dress faces a group of women seated in black burqas on beach\" width=\"970\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Srour_Leila-and-the-Wolves_001-768x512.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">A still from Heiny Srour’s ‘Leila and the Wolves,’ 1984. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series’ final film, screening Thursday, Nov. 17, zooms out from the Lebanese Civil War to draw parallels between the conflict and Palestine’s 20th-century history. \u003ci>\u003ca href=\"https://bampfa.org/event/leila-and-wolves\">Leila and the Wolves\u003c/a>\u003c/i> (1984) uses a hybrid format punctuated with powerful and magical imagery. Scattered with documentary footage, the film reenacts historical moments to dwell on women’s unacknowledged contributions to anti-colonial struggles.\u003c/p>\n\u003cp>Our guide is Leila, a Lebanese woman hanging a political art show in London, who sets off on her journey to counter a male colleague’s belief that, in the past, women had nothing to do with politics. In each vignette, Srour depicts the courage of women and girls alongside and independent of their male counterparts, and the ways that patriarchal structures within resistance movements deprive them of agency.\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 New Lebanese Cinema of the 1970s and 1980s’ plays at the Berkeley Art Museum and Pacific Film Archive Nov. 10–17. \u003ca href=\"https://bampfa.org/program/new-lebanese-cinema-1970s-and-1980s\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921411/new-lebanese-cinema-70s-80s-bampfa","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_10278","arts_585"],"featImg":"arts_13921413","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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