Shimon Attie’s ‘Night Watch’ Lights Up Bay Area Waterways
Stephanie Syjuco’s ‘Native Resolution’ Won’t Let Racism Remain Filed Away
Nina Katchadourian Takes an Adventure Story into Deeper Emotional Waters
‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing
Steep Prices, Absent SFMOMA Signaled an SF Art Exodus
An American Procession Marching Toward Confrontation
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She is a regular contributor to Photograph, Hyerallergic, BOMB Magazine, and KQED Arts.","avatar":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]}],"headData":{"title":"Roula Seikaly | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rseikaly"}},"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_13903014":{"type":"posts","id":"arts_13903014","meta":{"index":"posts_1591205157","site":"arts","id":"13903014","score":null,"sort":[1630350430000]},"guestAuthors":[],"slug":"shimon-atties-night-watch-lights-up-bay-area-waterways","title":"Shimon Attie’s ‘Night Watch’ Lights Up Bay Area Waterways","publishDate":1630350430,"format":"standard","headTitle":"Shimon Attie’s ‘Night Watch’ Lights Up Bay Area Waterways | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If being indoors isn’t your jam these days, BOXBLUR (a performance program launched by Catharine Clark Gallery) and the Immersive Arts Alliance have organized three nights of waterfront viewing for Shimon Attie’s floating video project: a slow-moving barge boasting a 20-foot-wide LED screen. \u003cem>Night Watch\u003c/em> displays silent video portraits of 12 refugees who received political asylum in the United States, images that make tangible what it means to leave one’s homeland in the face of violence and discrimination. The project will be accompanied by live music and dance performances at waterfronts along the barge’s nightly routes, events at over 40 Bay Area partner organizations, and a \u003ca href=\"https://cclarkgallery.com/exhibitions/attie-solo-exhibition-2021\" rel=\"noopener noreferrer\" target=\"_blank\">solo exhibition\u003c/a> of Attie’s work at Catharine Clark (Sept. 18–Oct. 30).\u003c/p>\n\u003cp>\u003ci>Shimon Attie’s ‘\u003ca href=\"https://cclarkgallery.com/exhibitions/boxblur-attie-night-watch-2021\" rel=\"noopener noreferrer\" target=\"_blank\">Night Watch\u003c/a>’ is on view Sept. 17–19, 6:15–9pm in the San Francisco Bay and Oakland Estuary.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A slow-moving barge with a 20-foot-wide LED screen displays video portraits of refugees in the US.","status":"publish","parent":0,"modified":1705007875,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":161},"headData":{"title":"Shimon Attie’s ‘Night Watch’ Lights Up Bay Area Waterways | KQED","description":"A slow-moving barge with a 20-foot-wide LED screen displays video portraits of refugees in the US.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shimon Attie’s ‘Night Watch’ Lights Up Bay Area Waterways","datePublished":"2021-08-30T19:07:10.000Z","dateModified":"2024-01-11T21:17:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903014/shimon-atties-night-watch-lights-up-bay-area-waterways","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If being indoors isn’t your jam these days, BOXBLUR (a performance program launched by Catharine Clark Gallery) and the Immersive Arts Alliance have organized three nights of waterfront viewing for Shimon Attie’s floating video project: a slow-moving barge boasting a 20-foot-wide LED screen. \u003cem>Night Watch\u003c/em> displays silent video portraits of 12 refugees who received political asylum in the United States, images that make tangible what it means to leave one’s homeland in the face of violence and discrimination. The project will be accompanied by live music and dance performances at waterfronts along the barge’s nightly routes, events at over 40 Bay Area partner organizations, and a \u003ca href=\"https://cclarkgallery.com/exhibitions/attie-solo-exhibition-2021\" rel=\"noopener noreferrer\" target=\"_blank\">solo exhibition\u003c/a> of Attie’s work at Catharine Clark (Sept. 18–Oct. 30).\u003c/p>\n\u003cp>\u003ci>Shimon Attie’s ‘\u003ca href=\"https://cclarkgallery.com/exhibitions/boxblur-attie-night-watch-2021\" rel=\"noopener noreferrer\" target=\"_blank\">Night Watch\u003c/a>’ is on view Sept. 17–19, 6:15–9pm in the San Francisco Bay and Oakland Estuary.\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/13903014/shimon-atties-night-watch-lights-up-bay-area-waterways","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_3456","arts_585","arts_901"],"featImg":"arts_13902043","label":"arts_140"},"arts_13894535":{"type":"posts","id":"arts_13894535","meta":{"index":"posts_1591205157","site":"arts","id":"13894535","score":null,"sort":[1617664079000]},"guestAuthors":[],"slug":"stephanie-syjucos-native-resolutions-wont-let-racism-remain-filed-away","title":"Stephanie Syjuco’s ‘Native Resolution’ Won’t Let Racism Remain Filed Away","publishDate":1617664079,"format":"standard","headTitle":"Stephanie Syjuco’s ‘Native Resolution’ Won’t Let Racism Remain Filed Away | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In her latest exhibition, Oakland artist Stephanie Syjuco powerfully implicates photography as one of imperialism’s most effective tools. Made by mining archives for images of Indigenous Filipinos, her show at Catharine Clark Gallery, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Native Resolution\u003c/i>\u003c/a> examines photography, anthropology and archiving as overlapping knowledge structures that shape both imagination and American history. The resulting (and absorbing) multimedia installation considers the effect and force of institutional practices that bury racism in historical records.\u003c/p>\n\u003cp>During a two-week artist residency in 2019 supported in part by the \u003ca href=\"https://camstl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Art Museum St. Louis\u003c/a>, Syjuco plumbed the city’s archives for pictures of the \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1909651\" target=\"_blank\" rel=\"noopener noreferrer\">Philippine Reservation\u003c/a>, the 47-acre site within the 1904 St. Louis World’s Fair. The result is \u003cem>Block Out the Sun\u003c/em>, a five-minute video presented in the gallery’s media room, in which black-and-white photographs appear and disappear on-screen, synched to the sound of a camera shutter.\u003c/p>\n\u003cfigure id=\"attachment_13895205\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13895205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Syjuco’s ‘Block Out the Sun,’ 2021. \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As archival records, the images purportedly record the inhabitants’ cultural, religious and domestic activities as they were displayed to curious fair audiences. As extensions of the imperialist gaze, the photographs capture a glimpse of life in a “living exhibition” (read: \u003ca href=\"https://thenewinquiry.com/blog/specimen-days-human-zoos-at-the-1904-worlds-fair/\">human zoo\u003c/a>). The installation was not the first of its kind, and it was wildly popular with world’s fair organizers and visitors. (In part, for for how such exhibitions reified presumed racial difference.) \u003c/p>\n\u003cp>Syjuco inserts herself in this spectatorial re-enactment by placing her hands over the photographed subjects, shielding them and refusing our want to see. Watching the images linger briefly on screen felt like watching a family slideshow, but it wasn’t my family, and I wasn’t sure I should be seeing it. Even with Syjuco’s protective intervention, I engaged the same lurid privilege of looking that so many white visitors to the St. Louis fair experienced more than 100 years ago. I \u003cem>strongly\u003c/em> recommend gallery visitors start their visit to \u003ci>Native Resolution\u003c/i> with this piece.\u003c/p>\n\u003cp>Other artworks in the show show Syjuco investigating even larger archives—as a 2019/2020 Smithsonian Artist Research Fellow, she dug into the \u003ca href=\"https://americanhistory.si.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of American History\u003c/a> and the \u003ca href=\"https://naturalhistory.si.edu/research/anthropology\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of Natural History’s Department of Anthropology\u003c/a> for representations of Indigenous Filipinos. In 1898, at the end of the Spanish American War, the Philippines was one of three colonial holdings (along with Guam and Puerto Rico) that Spain ceded to the United States by the terms of the Treaty of Paris. In that moment, the populations living in these newly acquired colonial outposts began to enter American historical records not as discrete individuals endowed with agency and innate human rights, but as biological and anthropological specimens to be studied.\u003c/p>\n\u003cfigure id=\"attachment_13895203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/fixedfocus_layout_press_1200.jpg\" alt=\"\" width=\"1200\" height=\"1472\" class=\"size-full wp-image-13895203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-768x942.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Fixed Focus (Dead Center),’ 2021. \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fixed Focus (Dead Center)\u003c/em> is an imposing grid of 36 photographed photocopies of typed archival notes. The original documents were compiled between 1899 and 1913 by the American ethnographic explorer and ardent colonialist \u003ca href=\"https://visualizingcultures.mit.edu/photography_and_power_02/dw02_essay01.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dean Conant Worcester\u003c/a>. Syjuco draws our attention to corrections in the texts, suggesting that this and other archives are rife with errors that have significantly influenced how Filipinos (and other colonized populations) are constructed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond the corrections that Syjuco situates at the center of each panel, little to no information may be derived from the fragmented text. It’s a confounding viewing experience, and a potent reminder that what passes as authoritative institutional knowledge may be incomplete or inaccurate.\u003c/p>\n\u003cp>Syjuco is not a passive observer to the catastrophes that unfold in this archival ephemera. It’s her hands that we see in \u003cem>Block Out the Sun\u003c/em>, protecting the objectified subjects from contemporary spectators. She is the one who willfully, perhaps zealously, crumples the \u003ca href=\"https://photogravure.com/process/\" target=\"_blank\" rel=\"noopener noreferrer\">photogravures\u003c/a> in \u003ci>Afterimage\u003c/i>, hung in a stately row along the gallery’s back wall. Printed on Gampi paper, some of the images in this series look like they were staged in a photographer’s studio, while others suggest the subjects didn’t know or could not prevent the photograph being taken. Syjuco nearly destroys the delicate, tissue-thin prints, undermining photography’s celebrated power to convey information, and once again thwarting our desire to consume that information.\u003c/p>\n\u003cfigure id=\"attachment_13895204\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200.jpg\" alt=\"\" width=\"1200\" height=\"898\" class=\"size-full wp-image-13895204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-768x575.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Afterimages (Interference of Vision),’ 2021 \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 1901, President William McKinley \u003ca href=\"https://millercenter.org/the-presidency/presidential-speeches/september-5-1901-speech-buffalo-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">spoke at the Pan-American Exposition in Buffalo\u003c/a>. A full three years before the St. Louis World’s Fair delighted visitors with exhibitions of the latest global technology and cultural fare, McKinley argued for expanding trade and commerce, and through those proxies, securing American interests on the world stage. More immediately, he said, world’s fairs “broaden and brighten the daily life of the people. They open mighty storehouses of information to the student.” \u003c/p>\n\u003cp>More than a century later, Stephanie Syjuco’s work actually fulfills that promise of openness far more than the world’s fairs ever did.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Native Resolution’ is on view at Catharine Clark Gallery through April 10. To schedule an appointment, \u003ca href=\"https://square.site/book/BG0D7KE5H758F/catharine-clark-gallery-san-francisco-ca\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"For a solo show at Catharine Clark Gallery, the Oakland artist mined American archives for images of Indigenous Filipinos.","status":"publish","parent":0,"modified":1705019218,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":874},"headData":{"title":"Stephanie Syjuco’s ‘Native Resolution’ Won’t Let Racism Remain Filed Away | KQED","description":"For a solo show at Catharine Clark Gallery, the Oakland artist mined American archives for images of Indigenous Filipinos.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stephanie Syjuco’s ‘Native Resolution’ Won’t Let Racism Remain Filed Away","datePublished":"2021-04-05T23:07:59.000Z","dateModified":"2024-01-12T00:26:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894535/stephanie-syjucos-native-resolutions-wont-let-racism-remain-filed-away","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her latest exhibition, Oakland artist Stephanie Syjuco powerfully implicates photography as one of imperialism’s most effective tools. Made by mining archives for images of Indigenous Filipinos, her show at Catharine Clark Gallery, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Native Resolution\u003c/i>\u003c/a> examines photography, anthropology and archiving as overlapping knowledge structures that shape both imagination and American history. The resulting (and absorbing) multimedia installation considers the effect and force of institutional practices that bury racism in historical records.\u003c/p>\n\u003cp>During a two-week artist residency in 2019 supported in part by the \u003ca href=\"https://camstl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Art Museum St. Louis\u003c/a>, Syjuco plumbed the city’s archives for pictures of the \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1909651\" target=\"_blank\" rel=\"noopener noreferrer\">Philippine Reservation\u003c/a>, the 47-acre site within the 1904 St. Louis World’s Fair. The result is \u003cem>Block Out the Sun\u003c/em>, a five-minute video presented in the gallery’s media room, in which black-and-white photographs appear and disappear on-screen, synched to the sound of a camera shutter.\u003c/p>\n\u003cfigure id=\"attachment_13895205\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13895205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Native-Resolution_2021_Install-Shot_04_press_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Syjuco’s ‘Block Out the Sun,’ 2021. \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As archival records, the images purportedly record the inhabitants’ cultural, religious and domestic activities as they were displayed to curious fair audiences. As extensions of the imperialist gaze, the photographs capture a glimpse of life in a “living exhibition” (read: \u003ca href=\"https://thenewinquiry.com/blog/specimen-days-human-zoos-at-the-1904-worlds-fair/\">human zoo\u003c/a>). The installation was not the first of its kind, and it was wildly popular with world’s fair organizers and visitors. (In part, for for how such exhibitions reified presumed racial difference.) \u003c/p>\n\u003cp>Syjuco inserts herself in this spectatorial re-enactment by placing her hands over the photographed subjects, shielding them and refusing our want to see. Watching the images linger briefly on screen felt like watching a family slideshow, but it wasn’t my family, and I wasn’t sure I should be seeing it. Even with Syjuco’s protective intervention, I engaged the same lurid privilege of looking that so many white visitors to the St. Louis fair experienced more than 100 years ago. I \u003cem>strongly\u003c/em> recommend gallery visitors start their visit to \u003ci>Native Resolution\u003c/i> with this piece.\u003c/p>\n\u003cp>Other artworks in the show show Syjuco investigating even larger archives—as a 2019/2020 Smithsonian Artist Research Fellow, she dug into the \u003ca href=\"https://americanhistory.si.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of American History\u003c/a> and the \u003ca href=\"https://naturalhistory.si.edu/research/anthropology\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of Natural History’s Department of Anthropology\u003c/a> for representations of Indigenous Filipinos. In 1898, at the end of the Spanish American War, the Philippines was one of three colonial holdings (along with Guam and Puerto Rico) that Spain ceded to the United States by the terms of the Treaty of Paris. In that moment, the populations living in these newly acquired colonial outposts began to enter American historical records not as discrete individuals endowed with agency and innate human rights, but as biological and anthropological specimens to be studied.\u003c/p>\n\u003cfigure id=\"attachment_13895203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/fixedfocus_layout_press_1200.jpg\" alt=\"\" width=\"1200\" height=\"1472\" class=\"size-full wp-image-13895203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/fixedfocus_layout_press_1200-768x942.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Fixed Focus (Dead Center),’ 2021. \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fixed Focus (Dead Center)\u003c/em> is an imposing grid of 36 photographed photocopies of typed archival notes. The original documents were compiled between 1899 and 1913 by the American ethnographic explorer and ardent colonialist \u003ca href=\"https://visualizingcultures.mit.edu/photography_and_power_02/dw02_essay01.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dean Conant Worcester\u003c/a>. Syjuco draws our attention to corrections in the texts, suggesting that this and other archives are rife with errors that have significantly influenced how Filipinos (and other colonized populations) are constructed. \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>Beyond the corrections that Syjuco situates at the center of each panel, little to no information may be derived from the fragmented text. It’s a confounding viewing experience, and a potent reminder that what passes as authoritative institutional knowledge may be incomplete or inaccurate.\u003c/p>\n\u003cp>Syjuco is not a passive observer to the catastrophes that unfold in this archival ephemera. It’s her hands that we see in \u003cem>Block Out the Sun\u003c/em>, protecting the objectified subjects from contemporary spectators. She is the one who willfully, perhaps zealously, crumples the \u003ca href=\"https://photogravure.com/process/\" target=\"_blank\" rel=\"noopener noreferrer\">photogravures\u003c/a> in \u003ci>Afterimage\u003c/i>, hung in a stately row along the gallery’s back wall. Printed on Gampi paper, some of the images in this series look like they were staged in a photographer’s studio, while others suggest the subjects didn’t know or could not prevent the photograph being taken. Syjuco nearly destroys the delicate, tissue-thin prints, undermining photography’s celebrated power to convey information, and once again thwarting our desire to consume that information.\u003c/p>\n\u003cfigure id=\"attachment_13895204\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200.jpg\" alt=\"\" width=\"1200\" height=\"898\" class=\"size-full wp-image-13895204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Syjuco_Afterimages-Interference-of-Vision_2021_1200-768x575.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Afterimages (Interference of Vision),’ 2021 \u003ccite>(Courtesy Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 1901, President William McKinley \u003ca href=\"https://millercenter.org/the-presidency/presidential-speeches/september-5-1901-speech-buffalo-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">spoke at the Pan-American Exposition in Buffalo\u003c/a>. A full three years before the St. Louis World’s Fair delighted visitors with exhibitions of the latest global technology and cultural fare, McKinley argued for expanding trade and commerce, and through those proxies, securing American interests on the world stage. More immediately, he said, world’s fairs “broaden and brighten the daily life of the people. They open mighty storehouses of information to the student.” \u003c/p>\n\u003cp>More than a century later, Stephanie Syjuco’s work actually fulfills that promise of openness far more than the world’s fairs ever did.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Native Resolution’ is on view at Catharine Clark Gallery through April 10. To schedule an appointment, \u003ca href=\"https://square.site/book/BG0D7KE5H758F/catharine-clark-gallery-san-francisco-ca\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894535/stephanie-syjucos-native-resolutions-wont-let-racism-remain-filed-away","authors":["77"],"categories":["arts_1"],"tags":["arts_3456","arts_10278","arts_822","arts_769"],"featImg":"arts_13895206","label":"arts"},"arts_13892431":{"type":"posts","id":"arts_13892431","meta":{"index":"posts_1591205157","site":"arts","id":"13892431","score":null,"sort":[1612972806000]},"guestAuthors":[],"slug":"nina-katchadourian-tells-a-story-of-high-seas-survival-at-catharine-clark","title":"Nina Katchadourian Takes an Adventure Story into Deeper Emotional Waters","publishDate":1612972806,"format":"standard","headTitle":"Nina Katchadourian Takes an Adventure Story into Deeper Emotional Waters | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>How close can we get to understanding someone else’s experience? This is likely not the question Nina Katchadourian asked herself when she began working on her show \u003ci>\u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-to-feel-something-that-was-not-of-our-world-solo-exhibition21\" rel=\"noopener noreferrer\" target=\"_blank\">To Feel Something That Was Not of Our World\u003c/a>\u003c/i>, now on view at San Francisco’s Catharine Clark Gallery. But it’s the question I’ve been asking myself while tracing her various approaches to the story at the center of this exhibition.\u003c/p>\n\u003cp>That story is an adventure story, but only because we didn’t live through it ourselves. It starts optimistically in 1971, with the Robertson family selling their farm in Staffordshire, England to buy a 43-foot schooner and a chance to sail the world. But their high-seas life only lasted about one-and-a-half years. In June 1972, a pod of orcas rammed into the ship’s hull in the Pacific Ocean, sinking it in around one minute. The passengers—parents Dougal and Lyn; sons Douglas, Neil and Sandy; and new crew member Robin Williams—escaped to an inflatable raft with minimal tools and supplies and one small dinghy. \u003c/p>\n\u003cp>They survived adrift for 38 days.\u003c/p>\n\u003cfigure id=\"attachment_13892441\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13892441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Paper Orca,’ 2020. \u003ccite>(John Janca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katchadourian first came across their story when she was seven, when her mother read her the 1973 book \u003ci>\u003ca href=\"https://bookshop.org/books/survive-the-savage-sea-sheridan-house-maritime-classics/9781493049387\" rel=\"noopener noreferrer\" target=\"_blank\">Survive the Savage Sea\u003c/a>\u003c/i>, Dougal Robertson’s account of the family’s experience drawn from his detailed logbook. At the time, the tale was pure adventure to Katchadourian, like the fictional escapades of another (Swiss) family. \u003c/p>\n\u003cp>Almost 50 years later, the Robertsons’ story remained a touchstone. Katchadourian reread the book nearly every year; in 2011 she visited the National Maritime Museum of Cornwall to see their dinghy. But it wasn’t until spring 2020 that she wrote a letter to Douglas, now 66, tentatively reaching out to see if he might talk to her for what would become \u003ci>To Feel Something\u003c/i>. Katchadourian was planning to work on the project for the duration of the family’s time at sea, June 15 to July 22; Douglas generously suggested they speak every one of those days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of that 38-day period, Katchadourian’s understanding of the Robertson family’s experience shifted profoundly. There was no more remove. Passages from \u003ci>Survive the Savage Sea\u003c/i>, read aloud by Douglas in a voice often breaking with emotion, were firsthand accounts of his own family’s ordeal, a series of harrowing setbacks and life-saving accomplishments punctuated by moments of otherworldly natural beauty.\u003c/p>\n\u003cp>In \u003ci>To Feel Something\u003c/i>, Katchadourian creates a dynamic timeline of the Robertsons adrift through life-sized paper replicas of sea life, physical props and audio accessed through QR codes. Her own text messages and conversations with Douglas narrating viewers’ way around the gallery, starting with a six-minute \u003ca href=\"https://vimeo.com/492688833\" rel=\"noopener noreferrer\" target=\"_blank\">orientation video\u003c/a> that sketches out the sequence of events and Katchadourian’s relationship to the material. It all feels very museum-y, but in no way stuffy. The National Maritime Museum of Cornwall may have the family’s dingy, but do they have a 22-foot-long two-dimensional rendering of an orca?\u003c/p>\n\u003cp>Like the best exhibition designers, Katchadourian employs various methods of drawing viewers physically and emotionally into the material. For each flying fish, sea turtle, dorado or shark the family managed to bring aboard first an inflatable raft and then their fiberglass dinghy, Katchadourian made a corresponding paper fish drawing. To demonstrate the size of the dinghy (which held four adults, two children and all their worldly possessions for the final 20 days), she painted its shape on the concrete floor. Diagrams depicting the cramped sleeping, bailing and inflating arrangements hang nearby.\u003c/p>\n\u003cfigure id=\"attachment_13892440\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13892440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Dorado Family, Flying Fish #1-9,’ and ‘Turtle,’ all 2020; Florist’s wire and monofilament, dimensions variable. \u003ccite>(John Janca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against ultramarine blue walls (color chosen by Douglas) some of Katchadourian’s approaches are playful, like a video that lives out Douglas’ dream of a fresh fruit salad, or the Playmobil figures that represent the stranded seafarers. Other items in the exhibition draw ties between the Robertsons and Katchadourian’s own family. A photo of her family in a little sailboat eerily resembles the picture taken of the Robertsons as they boarded their rescuer, a Japanese fishing boat. A print of a sampler made by Katchadourian’s “bonus grandmother,” an orphan of the Armenian genocide, underlines the many narratives missing from the historical record, unlike Dougal’s much-published words.\u003c/p>\n\u003cp>[aside postID='arts_13809040']All these objects, videos and cellphone screenshots, combined with around 75 audio clips, varying in length from less than a minute to several, make \u003ci>To Feel Something\u003c/i> epic in scope, and nearly impossible to absorb all at once. But this is, to me, the show’s most effective tactic. Caught up in the drama of nabbing a sea turtle, the loss of rainwater, the time they signaled a ship that didn’t see them, I wanted only to know everything about the Robertsons and their time at sea, even if that meant buying \u003ci>Survive the Savage Sea\u003c/i> and reading it myself. \u003c/p>\n\u003cp>We consume real-life adventure stories to live vicariously through someone else’s experience, to learn how they survived. We want those hard-won revelations without the hardness of winning them ourselves. We want to glimpse the “pinnacle of contentment,” as Dougal described their rescue, and what it feels like to save yourself from death. Well removed from those extremes, we attempt to absorb their lessons into our more ordinary existences. \u003c/p>\n\u003cp>In times where even the ordinary is extreme, the Robertson family’s learnings become newly valuable, whether they’re lessons in patience (“You only have to slay the dragon that you’ve got to deal with today”) or visions of a future to come, one in which we’ve escaped our homes and returned to a wider world. In that vein, the exhibition’s title comes from a description of their rescue, which Douglas didn’t believe in until the fishing boat’s rope fell across their own prow. “To feel something that was not of our world,” Douglas says, “it was so good.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘To Feel Something That Was Not of Our World’ is on view at Catharine Clark Gallery (248 Utah St., San Francisco) through Feb. 20. \u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-to-feel-something-that-was-not-of-our-world-solo-exhibition21\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The show combines life-sized drawings and audio clips to empathetically depict a family adrift for 38 days in 1972.","status":"publish","parent":0,"modified":1705019505,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1098},"headData":{"title":"Nina Katchadourian Takes an Adventure Story into Deeper Emotional Waters | KQED","description":"The show combines life-sized drawings and audio clips to empathetically depict a family adrift for 38 days in 1972.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nina Katchadourian Takes an Adventure Story into Deeper Emotional Waters","datePublished":"2021-02-10T16:00:06.000Z","dateModified":"2024-01-12T00:31:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892431/nina-katchadourian-tells-a-story-of-high-seas-survival-at-catharine-clark","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>How close can we get to understanding someone else’s experience? This is likely not the question Nina Katchadourian asked herself when she began working on her show \u003ci>\u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-to-feel-something-that-was-not-of-our-world-solo-exhibition21\" rel=\"noopener noreferrer\" target=\"_blank\">To Feel Something That Was Not of Our World\u003c/a>\u003c/i>, now on view at San Francisco’s Catharine Clark Gallery. But it’s the question I’ve been asking myself while tracing her various approaches to the story at the center of this exhibition.\u003c/p>\n\u003cp>That story is an adventure story, but only because we didn’t live through it ourselves. It starts optimistically in 1971, with the Robertson family selling their farm in Staffordshire, England to buy a 43-foot schooner and a chance to sail the world. But their high-seas life only lasted about one-and-a-half years. In June 1972, a pod of orcas rammed into the ship’s hull in the Pacific Ocean, sinking it in around one minute. The passengers—parents Dougal and Lyn; sons Douglas, Neil and Sandy; and new crew member Robin Williams—escaped to an inflatable raft with minimal tools and supplies and one small dinghy. \u003c/p>\n\u003cp>They survived adrift for 38 days.\u003c/p>\n\u003cfigure id=\"attachment_13892441\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13892441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Paper Orca,’ 2020. \u003ccite>(John Janca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katchadourian first came across their story when she was seven, when her mother read her the 1973 book \u003ci>\u003ca href=\"https://bookshop.org/books/survive-the-savage-sea-sheridan-house-maritime-classics/9781493049387\" rel=\"noopener noreferrer\" target=\"_blank\">Survive the Savage Sea\u003c/a>\u003c/i>, Dougal Robertson’s account of the family’s experience drawn from his detailed logbook. At the time, the tale was pure adventure to Katchadourian, like the fictional escapades of another (Swiss) family. \u003c/p>\n\u003cp>Almost 50 years later, the Robertsons’ story remained a touchstone. Katchadourian reread the book nearly every year; in 2011 she visited the National Maritime Museum of Cornwall to see their dinghy. But it wasn’t until spring 2020 that she wrote a letter to Douglas, now 66, tentatively reaching out to see if he might talk to her for what would become \u003ci>To Feel Something\u003c/i>. Katchadourian was planning to work on the project for the duration of the family’s time at sea, June 15 to July 22; Douglas generously suggested they speak every one of those days.\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 end of that 38-day period, Katchadourian’s understanding of the Robertson family’s experience shifted profoundly. There was no more remove. Passages from \u003ci>Survive the Savage Sea\u003c/i>, read aloud by Douglas in a voice often breaking with emotion, were firsthand accounts of his own family’s ordeal, a series of harrowing setbacks and life-saving accomplishments punctuated by moments of otherworldly natural beauty.\u003c/p>\n\u003cp>In \u003ci>To Feel Something\u003c/i>, Katchadourian creates a dynamic timeline of the Robertsons adrift through life-sized paper replicas of sea life, physical props and audio accessed through QR codes. Her own text messages and conversations with Douglas narrating viewers’ way around the gallery, starting with a six-minute \u003ca href=\"https://vimeo.com/492688833\" rel=\"noopener noreferrer\" target=\"_blank\">orientation video\u003c/a> that sketches out the sequence of events and Katchadourian’s relationship to the material. It all feels very museum-y, but in no way stuffy. The National Maritime Museum of Cornwall may have the family’s dingy, but do they have a 22-foot-long two-dimensional rendering of an orca?\u003c/p>\n\u003cp>Like the best exhibition designers, Katchadourian employs various methods of drawing viewers physically and emotionally into the material. For each flying fish, sea turtle, dorado or shark the family managed to bring aboard first an inflatable raft and then their fiberglass dinghy, Katchadourian made a corresponding paper fish drawing. To demonstrate the size of the dinghy (which held four adults, two children and all their worldly possessions for the final 20 days), she painted its shape on the concrete floor. Diagrams depicting the cramped sleeping, bailing and inflating arrangements hang nearby.\u003c/p>\n\u003cfigure id=\"attachment_13892440\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13892440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Katchadourian_To-Feel-Something-That-Was-Not-of-Our-World_2020_Install-Shot_2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nina Katchadourian, ‘Dorado Family, Flying Fish #1-9,’ and ‘Turtle,’ all 2020; Florist’s wire and monofilament, dimensions variable. \u003ccite>(John Janca)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against ultramarine blue walls (color chosen by Douglas) some of Katchadourian’s approaches are playful, like a video that lives out Douglas’ dream of a fresh fruit salad, or the Playmobil figures that represent the stranded seafarers. Other items in the exhibition draw ties between the Robertsons and Katchadourian’s own family. A photo of her family in a little sailboat eerily resembles the picture taken of the Robertsons as they boarded their rescuer, a Japanese fishing boat. A print of a sampler made by Katchadourian’s “bonus grandmother,” an orphan of the Armenian genocide, underlines the many narratives missing from the historical record, unlike Dougal’s much-published words.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13809040","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>All these objects, videos and cellphone screenshots, combined with around 75 audio clips, varying in length from less than a minute to several, make \u003ci>To Feel Something\u003c/i> epic in scope, and nearly impossible to absorb all at once. But this is, to me, the show’s most effective tactic. Caught up in the drama of nabbing a sea turtle, the loss of rainwater, the time they signaled a ship that didn’t see them, I wanted only to know everything about the Robertsons and their time at sea, even if that meant buying \u003ci>Survive the Savage Sea\u003c/i> and reading it myself. \u003c/p>\n\u003cp>We consume real-life adventure stories to live vicariously through someone else’s experience, to learn how they survived. We want those hard-won revelations without the hardness of winning them ourselves. We want to glimpse the “pinnacle of contentment,” as Dougal described their rescue, and what it feels like to save yourself from death. Well removed from those extremes, we attempt to absorb their lessons into our more ordinary existences. \u003c/p>\n\u003cp>In times where even the ordinary is extreme, the Robertson family’s learnings become newly valuable, whether they’re lessons in patience (“You only have to slay the dragon that you’ve got to deal with today”) or visions of a future to come, one in which we’ve escaped our homes and returned to a wider world. In that vein, the exhibition’s title comes from a description of their rescue, which Douglas didn’t believe in until the fishing boat’s rope fell across their own prow. “To feel something that was not of our world,” Douglas says, “it was so good.”\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>‘To Feel Something That Was Not of Our World’ is on view at Catharine Clark Gallery (248 Utah St., San Francisco) through Feb. 20. \u003ca href=\"https://cclarkgallery.com/exhibitions/katchadourian-to-feel-something-that-was-not-of-our-world-solo-exhibition21\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892431/nina-katchadourian-tells-a-story-of-high-seas-survival-at-catharine-clark","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3456","arts_10278","arts_585","arts_901"],"featImg":"arts_13892442","label":"arts_140"},"arts_13881106":{"type":"posts","id":"arts_13881106","meta":{"index":"posts_1591205157","site":"arts","id":"13881106","score":null,"sort":[1590624372000]},"guestAuthors":[],"slug":"curbside-exhibition-at-catharine-clark-eases-back-into-art-viewing","title":"‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing","publishDate":1590624372,"format":"standard","headTitle":"‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Visiting art shows used to be a regular part of my job. I’d see at least one show a week, sometimes more if I was feeling ambitious or visiting an area dense with galleries. But 70-some days into shelter in place, I’ve gotten so out of practice I can’t remember what I saw last. Was it \u003ca href=\"https://www.kqed.org/arts/13875930/charlie-leeses-sculptures-lumber-indoors-at-bass-reiner\" rel=\"noopener noreferrer\" target=\"_blank\">Charlie Leese’s show\u003c/a> for Bass & Reiner? Or the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener noreferrer\" target=\"_blank\">reopening\u003c/a> of 500 Capp Street?\u003c/p>\n\u003cp>Nowadays, I don’t venture out much. Leaving the neighborhood has become the equivalent of a major expedition, not undertaken lightly and with about as much protective gear in tow. \u003c/p>\n\u003cfigure id=\"attachment_13881114\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg\" alt=\"\" width=\"1200\" height=\"983\" class=\"size-full wp-image-13881114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-768x629.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-1020x836.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Gone to Seed,’ 2017. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until this past Saturday, I’d almost forgotten how nice it is to have a reason to go somewhere—anywhere. The event in question was the opening of \u003ci>Curbside Exhibition\u003c/i> at \u003ca href=\"https://cclarkgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Catharine Clark Gallery\u003c/a>, recent work by Sonoma artist Chester Arnold. The gallery’s first attempt at a socially distanced exhibition presents Arnold’s miniature oil-on-panel paintings behind a window facing the building’s lobby, a space shared with Brian Gross Fine Art. \u003c/p>\n\u003cp>It was a mixture of old-school opening and new-world rules. Buckets of sparkling water sat near dispensers of hand sanitizer; Clark greeted visitors in person, pointing to arrows marking out increments of six feet on the lobby floor. The gallery’s precautions to minimize risk to both staff and visitors were reassuring. (Everyone must wear masks and only three visitors are allowed in the lobby at a time, with staff remaining at a distance, behind a blocked doorway into the gallery proper.)\u003c/p>\n\u003cp>Arnold’s paintings are well suited to this approximation of a show. His small-scale works and fine brushwork necessitate up-close viewing, but seeing them through glass doesn’t diminish their effect. At the opening, an additional folding table was covered in works on paper, Arnold’s ongoing series of trompe-l’oeil folded letters. The whole experience felt a bit like an impromptu backroom show, mostly thanks to the personal attention of gallery staff and Clark herself.\u003c/p>\n\u003cfigure id=\"attachment_13881115\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13881115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-1020x760.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Retirement,’ 2019. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have to admit that seeing people—even just the top halves of their faces—was slightly overwhelming. I’ve become inept at small talk after months of conversing with only close friends and family. (When a casual acquaintance recently tried to chat with me at the farmers market, I blurted out “Have a great Sunday!” while pretty much running away.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arnold’s work reflects back a certain amount of the claustrophobia and isolation that define life now. (When I visited, loose plastic bags and bits of paper blew up and down Utah Street; the city looked desolate.) And inside the lobby, three of Arnold’s paintings show handwritten letters flying over cities. The paintings’ internal sense of scale is hard to pin down. The letters could be physically close, high above the cities, or (as I choose to see them) the folded pieces of paper are enormous, large enough to crush the sturdy buildings below.\u003c/p>\n\u003cp>In the 6-by-8-inch painting \u003ci>Retirement\u003c/i>, a bucolic landscape appears through an oval hole in a red brick wall. Bending to look through a window at the oil-on-panel painting, I enacted a strange hall of mirrors, peering through a thing to see a painting that mimics peering through another thing. Even when not rendering actual peepholes, many of Arnold’s paintings force a narrow gaze, like on the lower half of an oak tree’s thickly textured trunk. Or on a dandelion bursting out of a cracked ground. \u003c/p>\n\u003cfigure id=\"attachment_13881116\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg\" alt=\"\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13881116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Straw Harvest,’ 2020. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his work also zooms out, almost impossibly far. \u003ci>Final Destination\u003c/i> shows man-made structures atop a rocky, isolated island. \u003ci>High Seas\u003c/i> depicts a boat dwarfed by a cresting—and gigantic—wave. Vertiginous views above an M.C. Escher-like mine are painted on panels that measure smaller than postcards. Humans are tiny in these paintings; the surrounding world, so much more powerful. \u003c/p>\n\u003cp>It’s not currently reassuring to contemplate humanity’s fragility. But Arnold’s paintings also show individuals engaged in the mundane tasks of stacking baled hay and walking through nature. Their activity is implied in the scrawled handwriting of his windy letter paintings. Not everything worthwhile is grand.\u003c/p>\n\u003cp>Which is why the act of leaving home; of awkwardly attempting greetings and chitchat; of seeing artwork in person, however briefly, felt hopeful.\u003c/p>\n\u003cp>And that’s something.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chester Arnold’s ‘Curbside Exhibition’ is on view at Catharine Clark Gallery in San Francisco through June 5. \u003ca href=\"https://cclarkgallery.com/exhibitions/curbside-exhibitions\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"A socially distanced exhibition of recent paintings by Chester Arnold is a hopeful sign of reopening. ","status":"publish","parent":0,"modified":1705020659,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":827},"headData":{"title":"‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing | KQED","description":"A socially distanced exhibition of recent paintings by Chester Arnold is a hopeful sign of reopening. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing","datePublished":"2020-05-28T00:06:12.000Z","dateModified":"2024-01-12T00:50:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13881106/curbside-exhibition-at-catharine-clark-eases-back-into-art-viewing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting art shows used to be a regular part of my job. I’d see at least one show a week, sometimes more if I was feeling ambitious or visiting an area dense with galleries. But 70-some days into shelter in place, I’ve gotten so out of practice I can’t remember what I saw last. Was it \u003ca href=\"https://www.kqed.org/arts/13875930/charlie-leeses-sculptures-lumber-indoors-at-bass-reiner\" rel=\"noopener noreferrer\" target=\"_blank\">Charlie Leese’s show\u003c/a> for Bass & Reiner? Or the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener noreferrer\" target=\"_blank\">reopening\u003c/a> of 500 Capp Street?\u003c/p>\n\u003cp>Nowadays, I don’t venture out much. Leaving the neighborhood has become the equivalent of a major expedition, not undertaken lightly and with about as much protective gear in tow. \u003c/p>\n\u003cfigure id=\"attachment_13881114\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg\" alt=\"\" width=\"1200\" height=\"983\" class=\"size-full wp-image-13881114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-768x629.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-1020x836.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Gone to Seed,’ 2017. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until this past Saturday, I’d almost forgotten how nice it is to have a reason to go somewhere—anywhere. The event in question was the opening of \u003ci>Curbside Exhibition\u003c/i> at \u003ca href=\"https://cclarkgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Catharine Clark Gallery\u003c/a>, recent work by Sonoma artist Chester Arnold. The gallery’s first attempt at a socially distanced exhibition presents Arnold’s miniature oil-on-panel paintings behind a window facing the building’s lobby, a space shared with Brian Gross Fine Art. \u003c/p>\n\u003cp>It was a mixture of old-school opening and new-world rules. Buckets of sparkling water sat near dispensers of hand sanitizer; Clark greeted visitors in person, pointing to arrows marking out increments of six feet on the lobby floor. The gallery’s precautions to minimize risk to both staff and visitors were reassuring. (Everyone must wear masks and only three visitors are allowed in the lobby at a time, with staff remaining at a distance, behind a blocked doorway into the gallery proper.)\u003c/p>\n\u003cp>Arnold’s paintings are well suited to this approximation of a show. His small-scale works and fine brushwork necessitate up-close viewing, but seeing them through glass doesn’t diminish their effect. At the opening, an additional folding table was covered in works on paper, Arnold’s ongoing series of trompe-l’oeil folded letters. The whole experience felt a bit like an impromptu backroom show, mostly thanks to the personal attention of gallery staff and Clark herself.\u003c/p>\n\u003cfigure id=\"attachment_13881115\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13881115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-1020x760.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Retirement,’ 2019. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have to admit that seeing people—even just the top halves of their faces—was slightly overwhelming. I’ve become inept at small talk after months of conversing with only close friends and family. (When a casual acquaintance recently tried to chat with me at the farmers market, I blurted out “Have a great Sunday!” while pretty much running away.)\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>Arnold’s work reflects back a certain amount of the claustrophobia and isolation that define life now. (When I visited, loose plastic bags and bits of paper blew up and down Utah Street; the city looked desolate.) And inside the lobby, three of Arnold’s paintings show handwritten letters flying over cities. The paintings’ internal sense of scale is hard to pin down. The letters could be physically close, high above the cities, or (as I choose to see them) the folded pieces of paper are enormous, large enough to crush the sturdy buildings below.\u003c/p>\n\u003cp>In the 6-by-8-inch painting \u003ci>Retirement\u003c/i>, a bucolic landscape appears through an oval hole in a red brick wall. Bending to look through a window at the oil-on-panel painting, I enacted a strange hall of mirrors, peering through a thing to see a painting that mimics peering through another thing. Even when not rendering actual peepholes, many of Arnold’s paintings force a narrow gaze, like on the lower half of an oak tree’s thickly textured trunk. Or on a dandelion bursting out of a cracked ground. \u003c/p>\n\u003cfigure id=\"attachment_13881116\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg\" alt=\"\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13881116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Straw Harvest,’ 2020. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his work also zooms out, almost impossibly far. \u003ci>Final Destination\u003c/i> shows man-made structures atop a rocky, isolated island. \u003ci>High Seas\u003c/i> depicts a boat dwarfed by a cresting—and gigantic—wave. Vertiginous views above an M.C. Escher-like mine are painted on panels that measure smaller than postcards. Humans are tiny in these paintings; the surrounding world, so much more powerful. \u003c/p>\n\u003cp>It’s not currently reassuring to contemplate humanity’s fragility. But Arnold’s paintings also show individuals engaged in the mundane tasks of stacking baled hay and walking through nature. Their activity is implied in the scrawled handwriting of his windy letter paintings. Not everything worthwhile is grand.\u003c/p>\n\u003cp>Which is why the act of leaving home; of awkwardly attempting greetings and chitchat; of seeing artwork in person, however briefly, felt hopeful.\u003c/p>\n\u003cp>And that’s something.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chester Arnold’s ‘Curbside Exhibition’ is on view at Catharine Clark Gallery in San Francisco through June 5. \u003ca href=\"https://cclarkgallery.com/exhibitions/curbside-exhibitions\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881106/curbside-exhibition-at-catharine-clark-eases-back-into-art-viewing","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3456","arts_10126","arts_10278","arts_2636","arts_769","arts_585"],"featImg":"arts_13881113","label":"arts_140"},"arts_13870604":{"type":"posts","id":"arts_13870604","meta":{"index":"posts_1591205157","site":"arts","id":"13870604","score":null,"sort":[1575493955000]},"guestAuthors":[],"slug":"steep-prices-and-an-absent-sfmoma-signaled-an-art-exodus-for-san-francisco","title":"Steep Prices, Absent SFMOMA Signaled an SF Art Exodus","publishDate":1575493955,"format":"standard","headTitle":"KQED Arts","labelTerm":{"site":"arts"},"content":"\u003cp>Looking back on the nearly three years the San Francisco Museum of Modern Art was closed for construction, what Catharine Clark remembers most is the psychic burden on gallery owners like herself. \u003c/p>\n\u003cp>“I think there was this sense that there was nothing to come to San Francisco for,” she says, “given that the ‘symbol’ of contemporary art was not open, galleries were closing, and artists were leaving the city. And that was a perception outside of the city, but it was something that we also internalized.”\u003c/p>\n\u003cp>While the city’s largest art museum shut its doors to add 100,000 square feet of exhibition space, the San Francisco gallery scene went through a period of wild instability, shifting from one reliable Union Square hub to several disparate destinations. It suffered, as Clark points out, an identity crisis of sorts. Between 2013 and 2016, galleries throughout the city abandoned traditional structures, rebranded as project spaces, closed and (only sometimes) reopened.\u003c/p>\n\u003cp>The past decade has been a markedly volatile one in the Bay Area visual arts scene, with artists leaving in droves for more affordable and roomier cities. Galleries joined the exodus, moving operations into homes, online or, in one case, Bozeman, Montana. Amid skyrocketing commercial rents, an aging collector base and \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">shifting audience priorities\u003c/a> in the Instagram age, the three-year absence of SFMOMA gave galleries ample time to reflect on a question they’re still asking: Is it time for a new model?\u003c/p>\n\u003cfigure id=\"attachment_13870619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-13870619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2.-Sn%C3%B8hetta-expansion-of-the-new-SFMOMA-2016-photo-%C2%A9-Henrik-Kam-courtesy-SFMOMA-e1575322557631.jpg\" alt=\"Snøhetta expansion of the new SFMOMA, 2016.\" width=\"1920\" height=\"1345\">\u003cfigcaption class=\"wp-caption-text\">The Snøhetta expansion of SFMOMA in 2016. \u003ccite>(Henrik Kam; courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Catharine Clark Gallery\u003c/a> occupied a prime location on Minna Street: a street-level space with a roll-up door facing SFMOMA. And while the street wouldn’t be closed during the museum’s expansion project, she knew construction would be disruptive. She also faced an imminent rent hike, so Clark began looking for a new location.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There were already starting to be murmurs that the art world was about to collapse in San Francisco under this impossibility of renewing leases,” Clark remembers. “In most cases, it wasn’t that leases weren’t being offered, it’s just that they just weren’t being offered at prices galleries could afford.”\u003c/p>\n\u003cp>Eventually, Clark found a raw Potrero Hill space, the zoning of which saved her from competing with tech companies searching for office space. Now she wonders if another move is on the horizon. “When my lease is up here I don’t know what’s going to happen next,” she says. After four locations and 29 years, the gallery has grown, ushering its artists from emerging to mid-career status. If she were starting out today, Clark says, she’d never be able to follow a similar path.\u003c/p>\n\u003cp>What this ultimately means, she says, is that younger, less established artists aren’t getting as many opportunities to show their work—price points have to be high enough to cover a gallery’s rent.\u003c/p>\n\u003cp>Commercial galleries of all levels are a crucial part of a healthy arts ecosystem, along with collectors who buy locally and invest in the trajectory of an artist’s career. Galleries willing to take a gamble on emerging artists provide them with the stepping stones between scrappy project spaces and museum shows. These galleries contextualize an artist’s work, provide opportunities for formal presentations and open their doors for viewing hours that extend beyond the length of a casual studio visit. And, most importantly, galleries can make artists money (usually, 50 percent of every sale).\u003c/p>\n\u003cfigure id=\"attachment_13870622\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg class=\"size-full wp-image-13870622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg\" alt='People gathered outside the gallery on MInna Street, a banner reads \"GRNAD OPENING\" over the roll-up door.' width=\"801\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg 801w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-768x575.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">The inaugural opening of Catharine Clark Gallery at 150 Minna Street in 2007. \u003ccite>(Courtesy of Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While SFMOMA’s doors were closed, the museum vehemently resisted hibernation. Its permanent collection popped up in shows organized with fellow Bay Area institutions; the museum’s semi-biennial (the SECA Award) took place in four different locations—all of them non-art spaces. SFMOMA even staged a large-scale group show in the sleepy South Bay city of Los Gatos. All of this was part of a coordinated effort called \u003ci>On the Go\u003c/i>, which maintained the museum’s momentum and public presence while demonstrating a previously unknown agility.\u003c/p>\n\u003cp>Amid evictions and extreme rent hikes, it’s not surprising that many San Francisco galleries followed SFMOMA’s lead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.guerrerogallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Guerrero Gallery\u003c/a>, faced with a new lease in 2013 that would double the rent on its Mission District location, opted instead to stage pop-up exhibitions in Oakland, San Francisco, Los Angeles and even owner Andres Guerrero’s home. Running lean and getting lucky, Guerrero says, he was able to accumulate enough capital over those three years to open a new space in 2016.\u003c/p>\n\u003cp>\u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>, evicted in 2014 after 27 years in its Geary Street building (the tech company MuleSoft, now owned by Salesforce, wanted to expand its square footage), opened a project space on Market Street, proclaiming a shift to “site-specific installations and explorations of non-traditional exhibition models.”\u003c/p>\n\u003cp>Now located in \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a>, the compound of 13 galleries, artist studios and art storage founded in 2016, the gallery has returned to a more traditional model and schedule. Director Trish Bransten says they took from their experience on Market Street a greater appreciation of pushing artists to adapt to a new space and think beyond what Bransten calls “an object-driven format.”\u003c/p>\n\u003cfigure id=\"attachment_13870623\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-13870623 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The installation view of Gregory Lind's final exhibition at 49 Geary in 2019, 'Fog of Conspiracy.' \u003ccite>(Courtesy of Gregory Lind Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As galleries scrambled for space, the conversations among artists centered around news of recent Ellis Act evictions, impending moves to Los Angeles and whose studio was turning into condos. Somewhat belatedly, the San Francisco Arts Commission issued \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">a survey of Bay Area artists\u003c/a> in 2015, finding over 70 percent of the nearly 600 respondents had been or were being displaced from their workplace, home or both. In partial response to this, in January 2019, the city identified four priority areas the newly established \u003ca href=\"https://sfgov.org/arts/sites/default/files/030419_CSAP_Plan__0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a> will support—just 10 percent is earmarked for individual artist support, and none for establishing either affordable artist housing or studio space.\u003c/p>\n\u003cp>When \u003ca href=\"http://gregorylindgallery.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Gregory Lind\u003c/a> closed his 20-year-old gallery in August of this year, the decision wasn’t about rent, but about changing demographics and behaviors in the art-viewing public—indicative, perhaps, of larger population shifts in the Bay Area. As Lind explains it, while older collectors withdrew from purchasing art and visiting galleries, younger generations seemed to lean towards impersonal, faster interactions rather than wandering through a carefully staged exhibition.\u003c/p>\n\u003cp>“I don’t want to generalize, because there are always exceptions,” he prefaces, “but the overall feeling was less interesting conversations, more sales online and, of course, the necessity to do even more art fairs. ... I didn’t feel like I wanted another five-year lease to continue this and be disappointed that people were more interested in Instagram than coming to the gallery.”\u003c/p>\n\u003cp>For those who believe in primary interactions with artwork, in placement and curation—and face-to-face conversations about all of the above—it remains to be seen how an industry that requires space will continue to adapt in this unaffordable city. Without special protections from local government, or new Minnesota Street Project-style spaces emerging, rent remains an overarching concern. In June 2019, commercial real estate in San Francisco averaged a \u003ca href=\"https://www.sfchronicle.com/business/article/SF-office-rents-soar-to-fresh-record-amid-supply-14070073.php#\" target=\"_blank\" rel=\"noopener noreferrer\">record high\u003c/a> of over $84 per square foot.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve thought about this over the years as I’ve watched the slow decline of the art scene in the Bay Area,” says \u003ca href=\"https://etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al.\u003c/a> gallery co-director Aaron Harbour, who opened his first space in Chinatown in 2013. “The only monster is the rent, the price of real estate. Everything else is survivable.”\u003c/p>\n\n","blocks":[],"excerpt":"A dwindling gallery scene meant fewer pathways to sustainable careers for emerging artists.","status":"publish","parent":0,"modified":1575494124,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1349},"headData":{"title":"Steep Prices, Absent SFMOMA Signaled an SF Art Exodus | KQED","description":"A dwindling gallery scene meant fewer pathways to sustainable careers for emerging artists.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Steep Prices, Absent SFMOMA Signaled an SF Art Exodus","datePublished":"2019-12-04T21:12:35.000Z","dateModified":"2019-12-04T21:15:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"13870604 https://ww2.kqed.org/arts/?p=13870604","disqusUrl":"https://ww2.kqed.org/arts/2019/12/04/steep-prices-and-an-absent-sfmoma-signaled-an-art-exodus-for-san-francisco/","disqusTitle":"Steep Prices, Absent SFMOMA Signaled an SF Art Exodus","templateType":"eod","featuredImageType":"standard","postYear":"2013","postArticleBullets":[{"bullet":"The Kenneth Rainin Foundation helps establish the Community Arts Stabilization Trust with the goal of securing real estate for arts organizations as rents rise in the Bay Area. ","bulletLink":"/arts/12443354/1-7-million-real-estate-grant-aims-to-keep-artists-in-oakland"},{"bullet":"As Google and other tech companies roll out charter buses to transport workers from Oakland and San Francisco to their headquarters in Silicon Valley, protestors demonstrate against rising rents and evictions fueled by the tech boom.","bulletLink":"/news/121445/anti-eviction-protesters-in-s-f-oakland-again-target-silicon-valley-buses"},{"bullet":"The $63 million SFJAZZ Center opens in San Francisco, debuting a state-of-the-art concert hall and educational programming for public school students across the Bay Area.","bulletLink":"/forum/201301181000/sfjazz-center-opens"}],"path":"/arts/13870604/steep-prices-and-an-absent-sfmoma-signaled-an-art-exodus-for-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back on the nearly three years the San Francisco Museum of Modern Art was closed for construction, what Catharine Clark remembers most is the psychic burden on gallery owners like herself. \u003c/p>\n\u003cp>“I think there was this sense that there was nothing to come to San Francisco for,” she says, “given that the ‘symbol’ of contemporary art was not open, galleries were closing, and artists were leaving the city. And that was a perception outside of the city, but it was something that we also internalized.”\u003c/p>\n\u003cp>While the city’s largest art museum shut its doors to add 100,000 square feet of exhibition space, the San Francisco gallery scene went through a period of wild instability, shifting from one reliable Union Square hub to several disparate destinations. It suffered, as Clark points out, an identity crisis of sorts. Between 2013 and 2016, galleries throughout the city abandoned traditional structures, rebranded as project spaces, closed and (only sometimes) reopened.\u003c/p>\n\u003cp>The past decade has been a markedly volatile one in the Bay Area visual arts scene, with artists leaving in droves for more affordable and roomier cities. Galleries joined the exodus, moving operations into homes, online or, in one case, Bozeman, Montana. Amid skyrocketing commercial rents, an aging collector base and \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">shifting audience priorities\u003c/a> in the Instagram age, the three-year absence of SFMOMA gave galleries ample time to reflect on a question they’re still asking: Is it time for a new model?\u003c/p>\n\u003cfigure id=\"attachment_13870619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-13870619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2.-Sn%C3%B8hetta-expansion-of-the-new-SFMOMA-2016-photo-%C2%A9-Henrik-Kam-courtesy-SFMOMA-e1575322557631.jpg\" alt=\"Snøhetta expansion of the new SFMOMA, 2016.\" width=\"1920\" height=\"1345\">\u003cfigcaption class=\"wp-caption-text\">The Snøhetta expansion of SFMOMA in 2016. \u003ccite>(Henrik Kam; courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Catharine Clark Gallery\u003c/a> occupied a prime location on Minna Street: a street-level space with a roll-up door facing SFMOMA. And while the street wouldn’t be closed during the museum’s expansion project, she knew construction would be disruptive. She also faced an imminent rent hike, so Clark began looking for a new location.\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 were already starting to be murmurs that the art world was about to collapse in San Francisco under this impossibility of renewing leases,” Clark remembers. “In most cases, it wasn’t that leases weren’t being offered, it’s just that they just weren’t being offered at prices galleries could afford.”\u003c/p>\n\u003cp>Eventually, Clark found a raw Potrero Hill space, the zoning of which saved her from competing with tech companies searching for office space. Now she wonders if another move is on the horizon. “When my lease is up here I don’t know what’s going to happen next,” she says. After four locations and 29 years, the gallery has grown, ushering its artists from emerging to mid-career status. If she were starting out today, Clark says, she’d never be able to follow a similar path.\u003c/p>\n\u003cp>What this ultimately means, she says, is that younger, less established artists aren’t getting as many opportunities to show their work—price points have to be high enough to cover a gallery’s rent.\u003c/p>\n\u003cp>Commercial galleries of all levels are a crucial part of a healthy arts ecosystem, along with collectors who buy locally and invest in the trajectory of an artist’s career. Galleries willing to take a gamble on emerging artists provide them with the stepping stones between scrappy project spaces and museum shows. These galleries contextualize an artist’s work, provide opportunities for formal presentations and open their doors for viewing hours that extend beyond the length of a casual studio visit. And, most importantly, galleries can make artists money (usually, 50 percent of every sale).\u003c/p>\n\u003cfigure id=\"attachment_13870622\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg class=\"size-full wp-image-13870622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg\" alt='People gathered outside the gallery on MInna Street, a banner reads \"GRNAD OPENING\" over the roll-up door.' width=\"801\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St.jpg 801w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Inaugural-Opening-Catharine-Clark-Gallery-on-Minna-St-768x575.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">The inaugural opening of Catharine Clark Gallery at 150 Minna Street in 2007. \u003ccite>(Courtesy of Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While SFMOMA’s doors were closed, the museum vehemently resisted hibernation. Its permanent collection popped up in shows organized with fellow Bay Area institutions; the museum’s semi-biennial (the SECA Award) took place in four different locations—all of them non-art spaces. SFMOMA even staged a large-scale group show in the sleepy South Bay city of Los Gatos. All of this was part of a coordinated effort called \u003ci>On the Go\u003c/i>, which maintained the museum’s momentum and public presence while demonstrating a previously unknown agility.\u003c/p>\n\u003cp>Amid evictions and extreme rent hikes, it’s not surprising that many San Francisco galleries followed SFMOMA’s lead.\u003c/p>\n\u003cp>\u003ca href=\"https://www.guerrerogallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Guerrero Gallery\u003c/a>, faced with a new lease in 2013 that would double the rent on its Mission District location, opted instead to stage pop-up exhibitions in Oakland, San Francisco, Los Angeles and even owner Andres Guerrero’s home. Running lean and getting lucky, Guerrero says, he was able to accumulate enough capital over those three years to open a new space in 2016.\u003c/p>\n\u003cp>\u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>, evicted in 2014 after 27 years in its Geary Street building (the tech company MuleSoft, now owned by Salesforce, wanted to expand its square footage), opened a project space on Market Street, proclaiming a shift to “site-specific installations and explorations of non-traditional exhibition models.”\u003c/p>\n\u003cp>Now located in \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a>, the compound of 13 galleries, artist studios and art storage founded in 2016, the gallery has returned to a more traditional model and schedule. Director Trish Bransten says they took from their experience on Market Street a greater appreciation of pushing artists to adapt to a new space and think beyond what Bransten calls “an object-driven format.”\u003c/p>\n\u003cfigure id=\"attachment_13870623\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg class=\"wp-image-13870623 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/2019_08-LIND-Fog-of-Conspiracy_WEB-01-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The installation view of Gregory Lind's final exhibition at 49 Geary in 2019, 'Fog of Conspiracy.' \u003ccite>(Courtesy of Gregory Lind Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As galleries scrambled for space, the conversations among artists centered around news of recent Ellis Act evictions, impending moves to Los Angeles and whose studio was turning into condos. Somewhat belatedly, the San Francisco Arts Commission issued \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">a survey of Bay Area artists\u003c/a> in 2015, finding over 70 percent of the nearly 600 respondents had been or were being displaced from their workplace, home or both. In partial response to this, in January 2019, the city identified four priority areas the newly established \u003ca href=\"https://sfgov.org/arts/sites/default/files/030419_CSAP_Plan__0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a> will support—just 10 percent is earmarked for individual artist support, and none for establishing either affordable artist housing or studio space.\u003c/p>\n\u003cp>When \u003ca href=\"http://gregorylindgallery.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Gregory Lind\u003c/a> closed his 20-year-old gallery in August of this year, the decision wasn’t about rent, but about changing demographics and behaviors in the art-viewing public—indicative, perhaps, of larger population shifts in the Bay Area. As Lind explains it, while older collectors withdrew from purchasing art and visiting galleries, younger generations seemed to lean towards impersonal, faster interactions rather than wandering through a carefully staged exhibition.\u003c/p>\n\u003cp>“I don’t want to generalize, because there are always exceptions,” he prefaces, “but the overall feeling was less interesting conversations, more sales online and, of course, the necessity to do even more art fairs. ... I didn’t feel like I wanted another five-year lease to continue this and be disappointed that people were more interested in Instagram than coming to the gallery.”\u003c/p>\n\u003cp>For those who believe in primary interactions with artwork, in placement and curation—and face-to-face conversations about all of the above—it remains to be seen how an industry that requires space will continue to adapt in this unaffordable city. Without special protections from local government, or new Minnesota Street Project-style spaces emerging, rent remains an overarching concern. In June 2019, commercial real estate in San Francisco averaged a \u003ca href=\"https://www.sfchronicle.com/business/article/SF-office-rents-soar-to-fresh-record-amid-supply-14070073.php#\" target=\"_blank\" rel=\"noopener noreferrer\">record high\u003c/a> of over $84 per square foot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve thought about this over the years as I’ve watched the slow decline of the art scene in the Bay Area,” says \u003ca href=\"https://etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al.\u003c/a> gallery co-director Aaron Harbour, who opened his first space in Chinatown in 2013. “The only monster is the rent, the price of real estate. Everything else is survivable.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870604/steep-prices-and-an-absent-sfmoma-signaled-an-art-exodus-for-san-francisco","authors":["61"],"categories":["arts_835","arts_235","arts_70"],"tags":["arts_9349","arts_3456","arts_7321","arts_9345","arts_1381","arts_9344"],"featImg":"arts_13870868","label":"arts"},"arts_13817415":{"type":"posts","id":"arts_13817415","meta":{"index":"posts_1591205157","site":"arts","id":"13817415","score":null,"sort":[1513235284000]},"guestAuthors":[],"slug":"an-american-procession-marching-toward-confrontation","title":"An American Procession Marching Toward Confrontation","publishDate":1513235284,"format":"standard","headTitle":"An American Procession Marching Toward Confrontation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Lots of artists have joined the so-called resistance since the election of Donald Trump as president. Among the most thoughtful are Southern California’s Sandow Birk and his wife Elyse Pignolet. The duo make paintings and prints that are often bitter, bloody satires on world politics, American consumerism, and the depravities of war — and now, the two have collaborated on a massive, 40-foot-long woodblock print (in three parts) called “American Procession.” It depicts a parade of figures from 300 years of American history, both famous and obscure. Abraham Lincoln, Cesar Chavez, Sonia Sotomayor, San Francisco musician and mayoral candidate Jello Biafra and dozens more march from the left. Steve Bannon, Antonin Scalia, Cotton Mather, California railroad baron Charles Crocker and dozens more march from the right.\u003c/p>\n\u003cfigure id=\"attachment_13817419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-800x600.jpg\" alt='A studio image of Sandow Birk and Elyse Pignolets \"American Procession\" at Mullowney Printing in San Francisco' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A studio image of Sandow Birk and Elyse Pignolets “American Procession” at Mullowney Printing in San Francisco. \u003ccite>(Photo: Courtesy of Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of “American Procession,” where the two forces might be expected to meet in ideological battle, is a triumphal arch in ruins, so I hope Birk and Pignolet are not predicting the future of our current hyper-partisan politics. The giant woodblock prints (inspired by a ceramic mural depicting a parade of all the kings of Saxony, two blocks long, which the two saw in Dresden some years ago) get a preview at two showings: Dec. 16 at Catharine Clark Gallery, and Jan. 20 at Mullowney Printing. Both events are free, but you’ll have to call the venues for details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Figures from the American left and right march into ideological battle in a giant woodblock print.","status":"publish","parent":0,"modified":1705028916,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":267},"headData":{"title":"An American Procession Marching Toward Confrontation | KQED","description":"Figures from the American left and right march into ideological battle in a giant woodblock print.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An American Procession Marching Toward Confrontation","datePublished":"2017-12-14T07:08:04.000Z","dateModified":"2024-01-12T03:08:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817415/an-american-procession-marching-toward-confrontation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lots of artists have joined the so-called resistance since the election of Donald Trump as president. Among the most thoughtful are Southern California’s Sandow Birk and his wife Elyse Pignolet. The duo make paintings and prints that are often bitter, bloody satires on world politics, American consumerism, and the depravities of war — and now, the two have collaborated on a massive, 40-foot-long woodblock print (in three parts) called “American Procession.” It depicts a parade of figures from 300 years of American history, both famous and obscure. Abraham Lincoln, Cesar Chavez, Sonia Sotomayor, San Francisco musician and mayoral candidate Jello Biafra and dozens more march from the left. Steve Bannon, Antonin Scalia, Cotton Mather, California railroad baron Charles Crocker and dozens more march from the right.\u003c/p>\n\u003cfigure id=\"attachment_13817419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-800x600.jpg\" alt='A studio image of Sandow Birk and Elyse Pignolets \"American Procession\" at Mullowney Printing in San Francisco' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/A-studio-image-of-Sandow-Birk-and-Elyse-Pignolets-American-Procession-at-Mullowney-Printing-in-San-Francisco.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A studio image of Sandow Birk and Elyse Pignolets “American Procession” at Mullowney Printing in San Francisco. \u003ccite>(Photo: Courtesy of Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of “American Procession,” where the two forces might be expected to meet in ideological battle, is a triumphal arch in ruins, so I hope Birk and Pignolet are not predicting the future of our current hyper-partisan politics. The giant woodblock prints (inspired by a ceramic mural depicting a parade of all the kings of Saxony, two blocks long, which the two saw in Dresden some years ago) get a preview at two showings: Dec. 16 at Catharine Clark Gallery, and Jan. 20 at Mullowney Printing. Both events are free, but you’ll have to call the venues for details.\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/13817415/an-american-procession-marching-toward-confrontation","authors":["32"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3456","arts_1006","arts_596"],"featImg":"arts_13817418","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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