‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art
Jordan Casteel's Portraits Gaze Right Back
Shannon Ebner’s Photography is Black and White and Read All Over
'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity
Energy in the Brush: Contemporary Chinese Ink Paintings at Cantor
'Photography in the Americas' Yields Much More Than Documentary
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She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13956354":{"type":"posts","id":"arts_13956354","meta":{"index":"posts_1591205157","site":"arts","id":"13956354","score":null,"sort":[1713913255000]},"guestAuthors":[],"slug":"day-jobs-cantor-arts-center-review","title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","publishDate":1713913255,"format":"standard","headTitle":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","status":"publish","parent":0,"modified":1713910437,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1065},"headData":{"title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","description":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","datePublished":"2024-04-23T23:00:55.000Z","dateModified":"2024-04-23T22:13:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Quintessa Matranga","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956354/day-jobs-cantor-arts-center-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956354/day-jobs-cantor-arts-center-review","authors":["byline_arts_13956354"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3935","arts_10278","arts_769","arts_585"],"featImg":"arts_13956447","label":"arts_140"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","datePublished":"2022-06-01T18:12:58.000Z","dateModified":"2024-01-11T20:59:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13910739":{"type":"posts","id":"arts_13910739","meta":{"index":"posts_1591205157","site":"arts","id":"13910739","score":null,"sort":[1648569632000]},"guestAuthors":[],"slug":"portrait-of-a-thief-grace-d-li-novel-review","title":"In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art","publishDate":1648569632,"format":"standard","headTitle":"In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the early 1800s Lord Elgin, a British ambassador, removed sculptures and other cultural artifacts from Athens’ Parthenon. The items, now known as the Elgin Marbles, were later sold by Elgin to the British crown and currently reside in London’s British Museum. The affair is a centuries-long point of contention between the nations of Greece and England, who have spent the intervening years requesting and denying their return, respectively. Were they looted or rescued—or both? Who do they really belong to? As Grace D. Li writes in her new novel about a fictional art heist, \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/679113/portrait-of-a-thief-by-grace-d-li/\" rel=\"noopener noreferrer\" target=\"_blank\">Portrait of a Thief\u003c/a>\u003c/em>: “What is art but another way of exerting power?”\u003c/p>\n\u003cp>Li—currently a third year medical student at Stanford University—works as a tour guide at the campus’ Cantor Arts Center. In addition to aiding her book research (“It’s nice to be able to walk around a museum and track things like, ‘where are the security cameras?’”), she credits her experience as a tour guide with helping her to “think about the role of museums in preserving history, and how museums take an active role in the cultivation of what we remember and what we observe.”\u003c/p>\n\u003cfigure id=\"attachment_13910772\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600.jpg\" alt=\"Photo of woman with long dark hair in brown sleeveless top under a blooming tree\" width=\"600\" height=\"800\" class=\"size-full wp-image-13910772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Author and Stanford medical student Grace D. Li \u003ccite>(Yi Li)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Portrait of a Thief\u003c/em> is her debut novel. It centers on the repatriation of “what the West stole”—12 zodiac statues pilfered from China’s former Old Summer Palace by British and French colonizers during the Second Opium War. Li explains that though it might not be a pivotal event in American history books, the real-life theft is “part of the general body of knowledge” she had growing up as a Chinese American. Li’s parents both came to the U.S. in the 1990s. “That idea of ‘who does art belong to?’ and feeling caught between cultures really spoke to me,” she says, “so I wanted to write about that.”\u003c/p>\n\u003cp>China is in possession of several of the zodiac statues, but the rest remain missing. Li took this unsolved mystery as inspiration to think through questions of patrimony and ownership. “The zodiac statues are a representation of everything that had been looted from the Old Summer Palace,” she explains, and in her novel, they aren’t missing but displaced in museums around the world. This presents an opportunity for her protagonist Will Chen, who Li describes as the “quintessential, perfect Asian son.” An art history student at Harvard, suave and intelligent Will gets approached by a mysterious Chinese investor who wants him to steal the statues back from the museums. Will quickly assembles a crew of other Chinese Americans and the novel kicks off. \u003c/p>\n\u003cp>The team fills out heist crew archetypes but in a way that feels natural: Alex Huang is a MIT-trained software programmer who can feasibly parlay her skills into hacking; Will’s sister Irene has the kind of charm and confidence that can “shape the world to her will,” making her the ideal grifter; Lily Wu, whose hobby of street racing has won her many a car, is a natural pick for getaway driver; and Daniel Liang is a steady-handed pre-med student/thief. There’s intergroup tension—some hostile, some romantic—and a lot on the line as this group of 20-somethings essentially agree to sacrifice their futures to correct the past. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Portrait of a Thief\u003c/em> is a confident debut for Li, whose writing shows great control at the line level and of the overall narrative. Descriptions are both economic and poetic; the novel keeps a swift pace as the characters crisscross the world, from the American South to the San Francisco Bay Area, to Beijing and Europe. It’s easy to see why Netflix was so quick to nab TV rights for the book.\u003c/p>\n\u003cfigure id=\"attachment_13910740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/GettyImages-1229919603.jpg\" alt=\"Horse head sculpture behind glass with people photographing it\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13910740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The horse head, one of the 12 bronze zodiac animal statues, on display at the Old Summer Palace in Beijing, China on Dec. 2, 2020. \u003ccite>(TPG/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the novel itself is slick, the characters are, realistically and endearingly, not. They are college students and the author’s knowledge of that (lack of) experience ensures their turn to crime is grippingly unsmooth. It also mirrors Li’s own work on the book. “The part where Will is taking notes while watching \u003cem>Ocean’s Eleven\u003c/em> was lifted from my real life experience trying to figure out how these movies structured a heist,” Li explains. Other heist research included the \u003cem>Fast and Furious\u003c/em> franchise and a Jackie Chan flick called \u003cem>CZ12\u003c/em> (also about the looted zodiac heads). \u003c/p>\n\u003cp>In the book, Li refers to Will and Irene’s pursuit of Chinese politics and art in school as them “reaching for the country their parents left behind.” The heist is another reach. With it, they’re working through their own relationship to China as members of its diaspora. Li’s first-hand knowledge of the Chinese American experience helps add authentic texture to their fictional experiences. Alex recalls customers over-enunciating their English when speaking to her immigrant parents, and they are all wrestling with being dutiful sons and daughters to their parents (a concept not unique to, but prominent in Asian families) while living their own lives. Also, since Li wrote much of the book during the pandemic and felt a responsibility to not ignore the way it changed the country, the rise in anti-Asian violence is also referenced as another layer of their families’ experiences in America. In this way the book itself is a reach, from Li, using fiction to imagine a new and more righteous future.\u003c/p>\n\u003cp>\u003cem>Portrait of a Thief\u003c/em>’s publication comes at a time when many museums in the West are being confronted with questions of ethics; Egypt and India have joined Greece in demanding repatriation of stolen works from Britain. The book embodies the zeitgeist and the spirit of the Toni Cade Bambara quote Li uses to begin its third act: “The role of the artist is to make the revolution irresistible.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Portrait of a Thief’ is out on April 5. Books Inc. Mountain View (317 Castro St.) hosts a launch party with Grace D. Li in person on Tuesday, April 5 at 7pm. \u003ca href=\"https://www.booksinc.net/event/launch-party-grace-d-li-books-inc-mountain-view\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Grace D. Li’s debut novel draws from her experience as a tour guide at Stanford’s Cantor Arts Center.","status":"publish","parent":0,"modified":1705007037,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1093},"headData":{"title":"‘Portrait of a Thief’ Review: A Gripping Heist Novel About Looted Art | KQED","description":"Grace D. Li’s debut novel draws from her experience as a tour guide at Stanford’s Cantor Arts Center.","ogTitle":"In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art","ogDescription":"","ogImgId":"","twTitle":"In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art","twDescription":"","twImgId":"","socialTitle":"‘Portrait of a Thief’ Review: A Gripping Heist Novel About Looted Art %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Portrait of a Thief,’ Chinese American Students Scheme to Steal Back Looted Art","datePublished":"2022-03-29T16:00:32.000Z","dateModified":"2024-01-11T21:03:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Naomi Elias","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13910739/portrait-of-a-thief-grace-d-li-novel-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1800s Lord Elgin, a British ambassador, removed sculptures and other cultural artifacts from Athens’ Parthenon. The items, now known as the Elgin Marbles, were later sold by Elgin to the British crown and currently reside in London’s British Museum. The affair is a centuries-long point of contention between the nations of Greece and England, who have spent the intervening years requesting and denying their return, respectively. Were they looted or rescued—or both? Who do they really belong to? As Grace D. Li writes in her new novel about a fictional art heist, \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/679113/portrait-of-a-thief-by-grace-d-li/\" rel=\"noopener noreferrer\" target=\"_blank\">Portrait of a Thief\u003c/a>\u003c/em>: “What is art but another way of exerting power?”\u003c/p>\n\u003cp>Li—currently a third year medical student at Stanford University—works as a tour guide at the campus’ Cantor Arts Center. In addition to aiding her book research (“It’s nice to be able to walk around a museum and track things like, ‘where are the security cameras?’”), she credits her experience as a tour guide with helping her to “think about the role of museums in preserving history, and how museums take an active role in the cultivation of what we remember and what we observe.”\u003c/p>\n\u003cfigure id=\"attachment_13910772\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600.jpg\" alt=\"Photo of woman with long dark hair in brown sleeveless top under a blooming tree\" width=\"600\" height=\"800\" class=\"size-full wp-image-13910772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Grace-Li_new-author-photo_credit-Yi-Li_600-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Author and Stanford medical student Grace D. Li \u003ccite>(Yi Li)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Portrait of a Thief\u003c/em> is her debut novel. It centers on the repatriation of “what the West stole”—12 zodiac statues pilfered from China’s former Old Summer Palace by British and French colonizers during the Second Opium War. Li explains that though it might not be a pivotal event in American history books, the real-life theft is “part of the general body of knowledge” she had growing up as a Chinese American. Li’s parents both came to the U.S. in the 1990s. “That idea of ‘who does art belong to?’ and feeling caught between cultures really spoke to me,” she says, “so I wanted to write about that.”\u003c/p>\n\u003cp>China is in possession of several of the zodiac statues, but the rest remain missing. Li took this unsolved mystery as inspiration to think through questions of patrimony and ownership. “The zodiac statues are a representation of everything that had been looted from the Old Summer Palace,” she explains, and in her novel, they aren’t missing but displaced in museums around the world. This presents an opportunity for her protagonist Will Chen, who Li describes as the “quintessential, perfect Asian son.” An art history student at Harvard, suave and intelligent Will gets approached by a mysterious Chinese investor who wants him to steal the statues back from the museums. Will quickly assembles a crew of other Chinese Americans and the novel kicks off. \u003c/p>\n\u003cp>The team fills out heist crew archetypes but in a way that feels natural: Alex Huang is a MIT-trained software programmer who can feasibly parlay her skills into hacking; Will’s sister Irene has the kind of charm and confidence that can “shape the world to her will,” making her the ideal grifter; Lily Wu, whose hobby of street racing has won her many a car, is a natural pick for getaway driver; and Daniel Liang is a steady-handed pre-med student/thief. There’s intergroup tension—some hostile, some romantic—and a lot on the line as this group of 20-somethings essentially agree to sacrifice their futures to correct the past. \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>\u003cem>Portrait of a Thief\u003c/em> is a confident debut for Li, whose writing shows great control at the line level and of the overall narrative. Descriptions are both economic and poetic; the novel keeps a swift pace as the characters crisscross the world, from the American South to the San Francisco Bay Area, to Beijing and Europe. It’s easy to see why Netflix was so quick to nab TV rights for the book.\u003c/p>\n\u003cfigure id=\"attachment_13910740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/GettyImages-1229919603.jpg\" alt=\"Horse head sculpture behind glass with people photographing it\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13910740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/GettyImages-1229919603-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The horse head, one of the 12 bronze zodiac animal statues, on display at the Old Summer Palace in Beijing, China on Dec. 2, 2020. \u003ccite>(TPG/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the novel itself is slick, the characters are, realistically and endearingly, not. They are college students and the author’s knowledge of that (lack of) experience ensures their turn to crime is grippingly unsmooth. It also mirrors Li’s own work on the book. “The part where Will is taking notes while watching \u003cem>Ocean’s Eleven\u003c/em> was lifted from my real life experience trying to figure out how these movies structured a heist,” Li explains. Other heist research included the \u003cem>Fast and Furious\u003c/em> franchise and a Jackie Chan flick called \u003cem>CZ12\u003c/em> (also about the looted zodiac heads). \u003c/p>\n\u003cp>In the book, Li refers to Will and Irene’s pursuit of Chinese politics and art in school as them “reaching for the country their parents left behind.” The heist is another reach. With it, they’re working through their own relationship to China as members of its diaspora. Li’s first-hand knowledge of the Chinese American experience helps add authentic texture to their fictional experiences. Alex recalls customers over-enunciating their English when speaking to her immigrant parents, and they are all wrestling with being dutiful sons and daughters to their parents (a concept not unique to, but prominent in Asian families) while living their own lives. Also, since Li wrote much of the book during the pandemic and felt a responsibility to not ignore the way it changed the country, the rise in anti-Asian violence is also referenced as another layer of their families’ experiences in America. In this way the book itself is a reach, from Li, using fiction to imagine a new and more righteous future.\u003c/p>\n\u003cp>\u003cem>Portrait of a Thief\u003c/em>’s publication comes at a time when many museums in the West are being confronted with questions of ethics; Egypt and India have joined Greece in demanding repatriation of stolen works from Britain. The book embodies the zeitgeist and the spirit of the Toni Cade Bambara quote Li uses to begin its third act: “The role of the artist is to make the revolution irresistible.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Portrait of a Thief’ is out on April 5. Books Inc. Mountain View (317 Castro St.) hosts a launch party with Grace D. Li in person on Tuesday, April 5 at 7pm. \u003ca href=\"https://www.booksinc.net/event/launch-party-grace-d-li-books-inc-mountain-view\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910739/portrait-of-a-thief-grace-d-li-novel-review","authors":["byline_arts_13910739"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_928","arts_3935","arts_10278","arts_6028","arts_769","arts_2309","arts_585"],"featImg":"arts_13910764","label":"arts_140"},"arts_13865085":{"type":"posts","id":"arts_13865085","meta":{"index":"posts_1591205157","site":"arts","id":"13865085","score":null,"sort":[1564270607000]},"guestAuthors":[],"slug":"jordan-casteels-portraits-gaze-right-back","title":"Jordan Casteel's Portraits Gaze Right Back","publishDate":1564270607,"format":"standard","headTitle":"Jordan Casteel’s Portraits Gaze Right Back | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Those who saw Casteel’s work in MoAD’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13848852/in-moads-black-refractions-harlems-studio-museum-collection-shines\" rel=\"noopener\" target=\"_blank\">Black Refractions\u003c/a>\u003c/em> at the start of this year know the Bay Area’s in for a treat. Now, a solo museum show (the young New York artist’s first, traveling from the Denver Art Museum) brings her large-scale portraits of Harlem community members to the Cantor. Casteel transfers her project of sustained looking to the subjects of her paintings—they steadily return the viewer’s gaze through Casteel’s vibrant, thick brushstrokes. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Large-scale portraits of Harlem community members arrive at the Cantor Arts Center.","status":"publish","parent":0,"modified":1705022464,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":94},"headData":{"title":"Jordan Casteel's Portraits Gaze Right Back | KQED","description":"Large-scale portraits of Harlem community members arrive at the Cantor Arts Center.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jordan Casteel's Portraits Gaze Right Back","datePublished":"2019-07-27T23:36:47.000Z","dateModified":"2024-01-12T01:21:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1569744000,"endTime":1580634000,"startTimeString":"Sept. 29, 2019–Feb. 2, 2020","venueName":"Cantor Arts Center","venueAddress":"328 Lomita Dr., Stanford","eventLink":"https://museum.stanford.edu/exhibitions/jordan-casteel-returning-gaze","path":"/arts/13865085/jordan-casteels-portraits-gaze-right-back","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Those who saw Casteel’s work in MoAD’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13848852/in-moads-black-refractions-harlems-studio-museum-collection-shines\" rel=\"noopener\" target=\"_blank\">Black Refractions\u003c/a>\u003c/em> at the start of this year know the Bay Area’s in for a treat. Now, a solo museum show (the young New York artist’s first, traveling from the Denver Art Museum) brings her large-scale portraits of Harlem community members to the Cantor. Casteel transfers her project of sustained looking to the subjects of her paintings—they steadily return the viewer’s gaze through Casteel’s vibrant, thick brushstrokes. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865085/jordan-casteels-portraits-gaze-right-back","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3935","arts_1006","arts_596"],"featImg":"arts_13865087","label":"arts_140"},"arts_13852022":{"type":"posts","id":"arts_13852022","meta":{"index":"posts_1591205157","site":"arts","id":"13852022","score":null,"sort":[1551816001000]},"guestAuthors":[],"slug":"cantor-arts-center-shannon-ebner-stray","title":"Shannon Ebner’s Photography is Black and White and Read All Over","publishDate":1551816001,"format":"standard","headTitle":"Shannon Ebner’s Photography is Black and White and Read All Over | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://altmansiegel.com/artists/shannon-ebner/\" rel=\"noopener\" target=\"_blank\">Shannon Ebner\u003c/a>‘s work is a moving target. Her concentrated, multivalent investigations of the relationship between language and photographic images consistently yield unpredictable outcomes. For \u003ca href=\"https://museum.stanford.edu/exhibitions/stray-graphic-tone\" target=\"_blank\" rel=\"noopener\">\u003ci>STRAY: A GRAPHIC TONE\u003c/i>\u003c/a>, now on view at the Cantor Arts Center, Ebner digs into language that is both heard and seen, and in danger of slipping from our cultural dialogue.\u003c/p>\n\u003cp>If you’re like me and Ebner’s work is unfamiliar, you could relate it to the work of \u003ca href=\"http://dig.henryart.org/photography-and-video/www/innovation/conceptual-art-and-photography/#0\" target=\"_blank\" rel=\"noopener\">conceptual artists\u003c/a> including Ed Ruscha, John Baldessari and the group Art & Language. Though Ebner rejects such a direct lineage, her idea-driven practice of pushing photography past its proscribed documentary function and into experimental territory situates her work proximally to that of her 1960s and 70s predecessors.\u003c/p>\n\u003cp>For Ebner, interrogating and deconstructing language visually—and for the current installation, aurally—is a fulsome endeavor. From that perspective, working with American poets \u003ca href=\"https://www.poetryfoundation.org/poets/susan-howe\" target=\"_blank\" rel=\"noopener\">Susan Howe\u003c/a> and \u003ca href=\"https://www.poetryfoundation.org/poets/nathaniel-mackey\" target=\"_blank\" rel=\"noopener\">Nathaniel Mackey\u003c/a>, both of whom are celebrated for blurring form and content lines in their chosen art form, is an obvious choice. \u003c/p>\n\u003cfigure id=\"attachment_13852277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200.jpg\" alt=\"Shannon Ebner, 'A SIDE: STAGE FLOOR,' 2019.\" width=\"1200\" height=\"1646\" class=\"size-full wp-image-13852277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-800x1097.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-768x1053.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-1020x1399.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-875x1200.jpg 875w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Ebner, ‘A SIDE: STAGE FLOOR,’ 2019. \u003ccite>(Courtesy the artist; Altman Siegel, San Francisco; and kaufman repetto, Milan/ New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Cantor, the multimedia installation \u003ci>STRAY\u003c/i> includes recordings of Howe and Mackey reading their work, complemented by sections of extracted, almost abstracted text hung on the wall. Ebner’s play with punctuation interrupts the flow of each poet’s work such that reading and listening to the same verse are utterly different experiences. Further into the gallery, side-by-side record players feature (the also-titled) \u003ca href=\"https://fonografeditions.com/catalog/stray-a-graphic-tone/\" target=\"_blank\" rel=\"noopener\">\u003ci>STRAY: A GRAPHIC TONE\u003c/i>\u003c/a>, a full-length poetry album in which Howe and Mackey recite selections of their work produced between 1991 and 2018. The album, which Ebner produced, will be released through Fonograf Editions and digitally on Spotify on April 9.\u003c/p>\n\u003cp>In written or spoken form, words affect us. They can land a leaden punch, or slide like water off a duck’s back. Ebner’s \u003cem>(A.L.N.G.U.E.*F.X.P.S.R)\u003c/em>, from the project \u003cem>The Electric Comma Series\u003c/em> explores language’s physical and psychological weight. \u003cem>The Electric Comma\u003c/em> began as a 13-line poem, a series of self-imposed directives, and ended when Ebner photographed its final iteration, the progression from page to image complete. In a one-car garage in Los Angeles, Ebner arranged cinder blocks for each letter of the alphabet on wall-mounted pegs and then photographed them. The weight of the cinder blocks counterbalances the fleeting potential of the spoken or written word, as does the knowledge that Ebner hefted each of the blocks into place as the project progressed.\u003c/p>\n\u003cfigure id=\"attachment_13852276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200.jpg\" alt=\"Shannon Ebner, 'B SIDE: INVERTED RECORD,' 2019.\" width=\"1200\" height=\"1312\" class=\"size-full wp-image-13852276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-800x875.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-1020x1115.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-1098x1200.jpg 1098w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Ebner, ‘B SIDE: INVERTED RECORD,’ 2019. \u003ccite>(Courtesy the artist; Altman Siegel, San Francisco; and kaufman repetto, Milan/ New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To some, Ebner’s work may read as remote or too conceptual. Many who stepped into the gallery on the day I visited appeared disinterested or unsure of how to approach the intimate installation. If I could impose myself, I would urge visitors to listen to Howe and Mackey recite their work for the under-appreciated cultural wonders that they are. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I would encourage them to look at \u003cem>A SIDE/B SIDE\u003c/em>, Ebner’s photographic capture of the marks left on stage by The Wooster Group as they \u003ca href=\"http://thewoostergroup.org/early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">interpreted the 1976 LP \u003cem>Early Shaker Spirituals\u003c/em>\u003c/a>. Originally produced by Sabbathday Lake Maine’s Sisters of the Shaker Community, the album is one of a few physical manifestations left by a religious sect now represented solely by two elderly women. When they die, so dies the sect. \u003c/p>\n\u003cp>On its surface, \u003cem>STRAY: A GRAPHIC TONE\u003c/em> is an examination of what happens when an artist plays with language. Go further in, like grooves on an album or a stage floor, and the exhibition reveals Ebner’s devotion to cultural forms that have fallen from our collective appreciation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘STRAY: A GRAPHIC TONE’ is on view at the Cantor Arts Center at Stanford through June 16, 2019. \u003ca href=\"https://museum.stanford.edu/exhibitions/stray-graphic-tone\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In 'Stray: A Graphic Tone' at the Cantor Arts Center, the artist plays with language—seen and heard—using the vocabulary of conceptual photography. ","status":"publish","parent":0,"modified":1705026518,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":692},"headData":{"title":"Shannon Ebner’s Photography is Black and White and Read All Over | KQED","description":"In 'Stray: A Graphic Tone' at the Cantor Arts Center, the artist plays with language—seen and heard—using the vocabulary of conceptual photography. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shannon Ebner’s Photography is Black and White and Read All Over","datePublished":"2019-03-05T20:00:01.000Z","dateModified":"2024-01-12T02:28:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13852022/cantor-arts-center-shannon-ebner-stray","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://altmansiegel.com/artists/shannon-ebner/\" rel=\"noopener\" target=\"_blank\">Shannon Ebner\u003c/a>‘s work is a moving target. Her concentrated, multivalent investigations of the relationship between language and photographic images consistently yield unpredictable outcomes. For \u003ca href=\"https://museum.stanford.edu/exhibitions/stray-graphic-tone\" target=\"_blank\" rel=\"noopener\">\u003ci>STRAY: A GRAPHIC TONE\u003c/i>\u003c/a>, now on view at the Cantor Arts Center, Ebner digs into language that is both heard and seen, and in danger of slipping from our cultural dialogue.\u003c/p>\n\u003cp>If you’re like me and Ebner’s work is unfamiliar, you could relate it to the work of \u003ca href=\"http://dig.henryart.org/photography-and-video/www/innovation/conceptual-art-and-photography/#0\" target=\"_blank\" rel=\"noopener\">conceptual artists\u003c/a> including Ed Ruscha, John Baldessari and the group Art & Language. Though Ebner rejects such a direct lineage, her idea-driven practice of pushing photography past its proscribed documentary function and into experimental territory situates her work proximally to that of her 1960s and 70s predecessors.\u003c/p>\n\u003cp>For Ebner, interrogating and deconstructing language visually—and for the current installation, aurally—is a fulsome endeavor. From that perspective, working with American poets \u003ca href=\"https://www.poetryfoundation.org/poets/susan-howe\" target=\"_blank\" rel=\"noopener\">Susan Howe\u003c/a> and \u003ca href=\"https://www.poetryfoundation.org/poets/nathaniel-mackey\" target=\"_blank\" rel=\"noopener\">Nathaniel Mackey\u003c/a>, both of whom are celebrated for blurring form and content lines in their chosen art form, is an obvious choice. \u003c/p>\n\u003cfigure id=\"attachment_13852277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200.jpg\" alt=\"Shannon Ebner, 'A SIDE: STAGE FLOOR,' 2019.\" width=\"1200\" height=\"1646\" class=\"size-full wp-image-13852277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-800x1097.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-768x1053.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-1020x1399.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_Shaker_HIRES_LAYOUT_V2_57x78_Final_1200-875x1200.jpg 875w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Ebner, ‘A SIDE: STAGE FLOOR,’ 2019. \u003ccite>(Courtesy the artist; Altman Siegel, San Francisco; and kaufman repetto, Milan/ New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Cantor, the multimedia installation \u003ci>STRAY\u003c/i> includes recordings of Howe and Mackey reading their work, complemented by sections of extracted, almost abstracted text hung on the wall. Ebner’s play with punctuation interrupts the flow of each poet’s work such that reading and listening to the same verse are utterly different experiences. Further into the gallery, side-by-side record players feature (the also-titled) \u003ca href=\"https://fonografeditions.com/catalog/stray-a-graphic-tone/\" target=\"_blank\" rel=\"noopener\">\u003ci>STRAY: A GRAPHIC TONE\u003c/i>\u003c/a>, a full-length poetry album in which Howe and Mackey recite selections of their work produced between 1991 and 2018. The album, which Ebner produced, will be released through Fonograf Editions and digitally on Spotify on April 9.\u003c/p>\n\u003cp>In written or spoken form, words affect us. They can land a leaden punch, or slide like water off a duck’s back. Ebner’s \u003cem>(A.L.N.G.U.E.*F.X.P.S.R)\u003c/em>, from the project \u003cem>The Electric Comma Series\u003c/em> explores language’s physical and psychological weight. \u003cem>The Electric Comma\u003c/em> began as a 13-line poem, a series of self-imposed directives, and ended when Ebner photographed its final iteration, the progression from page to image complete. In a one-car garage in Los Angeles, Ebner arranged cinder blocks for each letter of the alphabet on wall-mounted pegs and then photographed them. The weight of the cinder blocks counterbalances the fleeting potential of the spoken or written word, as does the knowledge that Ebner hefted each of the blocks into place as the project progressed.\u003c/p>\n\u003cfigure id=\"attachment_13852276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200.jpg\" alt=\"Shannon Ebner, 'B SIDE: INVERTED RECORD,' 2019.\" width=\"1200\" height=\"1312\" class=\"size-full wp-image-13852276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-800x875.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-1020x1115.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/SE_bside_INVERTED_V3_16x18_Final_1200-1098x1200.jpg 1098w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Ebner, ‘B SIDE: INVERTED RECORD,’ 2019. \u003ccite>(Courtesy the artist; Altman Siegel, San Francisco; and kaufman repetto, Milan/ New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To some, Ebner’s work may read as remote or too conceptual. Many who stepped into the gallery on the day I visited appeared disinterested or unsure of how to approach the intimate installation. If I could impose myself, I would urge visitors to listen to Howe and Mackey recite their work for the under-appreciated cultural wonders that they are. \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>I would encourage them to look at \u003cem>A SIDE/B SIDE\u003c/em>, Ebner’s photographic capture of the marks left on stage by The Wooster Group as they \u003ca href=\"http://thewoostergroup.org/early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">interpreted the 1976 LP \u003cem>Early Shaker Spirituals\u003c/em>\u003c/a>. Originally produced by Sabbathday Lake Maine’s Sisters of the Shaker Community, the album is one of a few physical manifestations left by a religious sect now represented solely by two elderly women. When they die, so dies the sect. \u003c/p>\n\u003cp>On its surface, \u003cem>STRAY: A GRAPHIC TONE\u003c/em> is an examination of what happens when an artist plays with language. Go further in, like grooves on an album or a stage floor, and the exhibition reveals Ebner’s devotion to cultural forms that have fallen from our collective appreciation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘STRAY: A GRAPHIC TONE’ is on view at the Cantor Arts Center at Stanford through June 16, 2019. \u003ca href=\"https://museum.stanford.edu/exhibitions/stray-graphic-tone\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852022/cantor-arts-center-shannon-ebner-stray","authors":["77"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3935","arts_1118","arts_596","arts_822","arts_769"],"featImg":"arts_13852275","label":"arts_140"},"arts_13841824":{"type":"posts","id":"arts_13841824","meta":{"index":"posts_1591205157","site":"arts","id":"13841824","score":null,"sort":[1538226001000]},"guestAuthors":[],"slug":"contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","title":"'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity","publishDate":1538226001,"format":"audio","headTitle":"‘Contact Warhol’ Dives into Andy’s Obsessions with Sex and Celebrity | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/506663418″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.","status":"publish","parent":0,"modified":1705027188,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1170},"headData":{"title":"'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity | KQED","description":"All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity","datePublished":"2018-09-29T13:00:01.000Z","dateModified":"2024-01-12T02:39:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/09/MyrowWarhol.mp3","sticky":false,"audioTrackLength":114,"path":"/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\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>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/506663418″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/506663418″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\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>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","authors":["251"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_3752","arts_3935","arts_1255","arts_1315","arts_5612","arts_4642","arts_3001","arts_2309","arts_5165","arts_5164"],"featImg":"arts_13841860","label":"arts"},"arts_13832754":{"type":"posts","id":"arts_13832754","meta":{"index":"posts_1591205157","site":"arts","id":"13832754","score":null,"sort":[1526738459000]},"guestAuthors":[],"slug":"energy-in-the-brush-contemporary-chinese-ink-paintings-at-cantor","title":"Energy in the Brush: Contemporary Chinese Ink Paintings at Cantor","publishDate":1526738459,"format":"audio","headTitle":"Energy in the Brush: Contemporary Chinese Ink Paintings at Cantor | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"More than 40 dynamic works of modern Chinese ink art come to Stanford's Cantor Arts Center this summer. ","status":"publish","parent":0,"modified":1705027824,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":863},"headData":{"title":"Energy in the Brush: Contemporary Chinese Ink Paintings at Cantor | KQED","description":"More than 40 dynamic works of modern Chinese ink art come to Stanford's Cantor Arts Center this summer. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Energy in the Brush: Contemporary Chinese Ink Paintings at Cantor","datePublished":"2018-05-19T14:00:59.000Z","dateModified":"2024-01-12T02:50:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/2018/05/rachelchineseink.mp3","sticky":false,"path":"/arts/13832754/energy-in-the-brush-contemporary-chinese-ink-paintings-at-cantor","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\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>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13832754/energy-in-the-brush-contemporary-chinese-ink-paintings-at-cantor","authors":["251"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_2250","arts_3935","arts_5391","arts_1118","arts_596","arts_4642","arts_3001","arts_2309"],"featImg":"arts_13832755","label":"arts"},"arts_13824315":{"type":"posts","id":"arts_13824315","meta":{"index":"posts_1591205157","site":"arts","id":"13824315","score":null,"sort":[1518552042000]},"guestAuthors":[],"slug":"photography-in-the-americas-yields-much-more-than-documentary","title":"'Photography in the Americas' Yields Much More Than Documentary","publishDate":1518552042,"format":"standard","headTitle":"‘Photography in the Americas’ Yields Much More Than Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Cantor Arts Center highlights photography from Latin America, the Caribbean and Latino communities in the United States that goes beyond an ethnographic survey.","status":"publish","parent":0,"modified":1705028523,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":321},"headData":{"title":"'Photography in the Americas' Yields Much More Than Documentary | KQED","description":"The Cantor Arts Center highlights photography from Latin America, the Caribbean and Latino communities in the United States that goes beyond an ethnographic survey.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Photography in the Americas' Yields Much More Than Documentary","datePublished":"2018-02-13T20:00:42.000Z","dateModified":"2024-01-12T03:02:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13824315/photography-in-the-americas-yields-much-more-than-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you feel left out while \u003ci>\u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener\">Pacific Standard Time: LA/LA\u003c/a>\u003c/i> took over nearly every Southern California arts institution last year? Led by the Getty, \u003ci>LA/LA\u003c/i> brought Latin American and Latino art into dialogue with the city of Los Angeles and its artists. Our southern neighbors got so many amazing exhibitions — among them, shows of radical women, photographs from the archives of \u003ci>La Raza\u003c/i> and works from the queer scene of 1960s-90s LA.\u003c/p>\n\u003cp>But wait! Before you drown yourself in the tears of missed road trip opportunities and Latin American art not seen, the Cantor Arts Center is here for you.\u003c/p>\n\u003cp>The rather academically titled \u003ci>The Matter of Photography in the Americas\u003c/i> features artists from Latin America, the Caribbean and Latino communities in the United States — all using photography not just for documentary purposes, but to question the very nature of image-making as a truthful medium.\u003c/p>\n\u003cfigure id=\"attachment_13824317\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg\" alt=\"Claudia Joskowicz, Still from 'Every Building on Avenida Alfonso Ugarte—After Ruscha,' 2011. \" width=\"1200\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/L.50.1.2017_Joskowicz_ladder_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Joskowicz, Still from ‘Every Building on Avenida Alfonso Ugarte—After Ruscha,’ 2011. \u003ccite>(Courtesy of the artist and LMAK gallery, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works in the show include installations (Dominican artist Joiri Minaya’s fragmented and expansive \u003ci>#dominicanwomengoogleresearch\u003c/i>), a conceptual project borrowed from Ed Ruscha (Bolivian artist Claudia Joskowicz’s video \u003ci>Every Building on Avenida Alfonso Ugarte—After Ruscha\u003c/i>) and vibrant combinations of materials (Mexican artist José León Merrillo’s \u003ci>Untitled\u003c/i> cyanotype).\u003c/p>\n\u003cp>The artists in \u003ci>The Matter of Photography\u003c/i> question how photography has distorted and perpetuated conceptions of Latin America, ponder whether the many images in our lives help or hinder our ability to empathize, and demonstrate what photographic practices that are neither documentary nor ethnographic can look like. And on top of all of that, the work looks stunning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Matter of Photography in the Americas’ is on view at the Cantor Arts Center at Stanford University through April 30, 2018. For more information, \u003ca href=\"https://museum.stanford.edu/exhibitions/matter-photography-americas\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824315/photography-in-the-americas-yields-much-more-than-documentary","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3935","arts_1006","arts_596","arts_822"],"featImg":"arts_13824318","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. 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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. 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