Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit
Megan Lowe Imagines New Dance Connections
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
At the de Young, Alice Neel’s Paintings Assert the Dignity of All People
Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her
‘Calder-Picasso’ Pairs the Art—Not the Artists—In a Decades-Long Discourse
‘Black Art Worlds’ Discusses Power Dynamics Between Black Artists and Institutions
Escape the Smoke: These San Francisco Museums Are Free This Weekend
Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein
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As the Digital Engagement Manager he helps bring KQED Arts' work into local communities both in the Bay and nationally. Previously, Justin worked for the SF performing arts organization, CounterPulse, and his writing has been published in Dancers Group, SFMOMA's Open Space, and various arts zines. Catch Justin biking through the city or baking vegan treats on the weekend.","avatar":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g","twitter":"JustinEbrahemi","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"Justin Ebrahemi | KQED","description":"Digital Engagement Manager","ogImgSrc":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jebrahemi"},"omayeda":{"type":"authors","id":"11872","meta":{"index":"authors_1591205172","id":"11872","found":true},"name":"Olivia Cruz Mayeda","firstName":"Olivia Cruz","lastName":"Mayeda","slug":"omayeda","email":"omayeda@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Editorial Intern ","bio":"Olivia Cruz Mayeda is a journalist in the Bay Area, a place that has been home to her family for over 100 years. Her writing has appeared in the \u003cem>San Francisco Chronicle\u003c/em> and The San Francisco Standard.","avatar":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Olivia Cruz Mayeda | KQED","description":"Editorial Intern ","ogImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/omayeda"}},"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_13950626":{"type":"posts","id":"arts_13950626","meta":{"index":"posts_1591205157","site":"arts","id":"13950626","score":null,"sort":[1705686670000]},"guestAuthors":[],"slug":"de-young-museum-fashioning-san-francisco-century-style","title":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit","publishDate":1705686670,"format":"standard","headTitle":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. [aside postid='arts_13950359']\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. [aside postid='arts_13950600']\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Fashioning San Francisco: A Century of Style,' opening Jan. 20, presents couture worn by the city's elite. ","status":"publish","parent":0,"modified":1705959226,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":995},"headData":{"title":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit | KQED","description":"'Fashioning San Francisco: A Century of Style,' opening Jan. 20, presents couture worn by the city's elite. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950626/de-young-museum-fashioning-san-francisco-century-style","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950359","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\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>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950600","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950626/de-young-museum-fashioning-san-francisco-century-style","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_1696","arts_10278","arts_769","arts_585"],"featImg":"arts_13950639","label":"arts_140"},"arts_13915067":{"type":"posts","id":"arts_13915067","meta":{"index":"posts_1591205157","site":"arts","id":"13915067","score":null,"sort":[1656006214000]},"guestAuthors":[],"slug":"megan-lowe-imagines-new-dance-connections","title":"Megan Lowe Imagines New Dance Connections","publishDate":1656006214,"format":"standard","headTitle":"Megan Lowe Imagines New Dance Connections | KQED","labelTerm":{"term":17807,"site":"arts"},"content":"\u003cp>Dance is in every fiber of Megan Lowe’s body. Having started dancing when she was three years old, she now has a career as a professional dancer, choreographer, performer, singer-songwriter, filmmaker, and teacher of Chinese and Irish descent.\u003c/p>\n\u003cp>With an affinity for dynamic places and partners, her creations through \u003ca href=\"https://www.meganlowedances.com/\">Megan Lowe Dances\u003c/a> tackle unusual physical situations and invent solutions to open up the imagination to what’s possible. “My artistic process thrives off of collaboration,” she says, “prioritizing creating relationships of respect, generosity, inspiration, gratitude, trust, and whole-hearted support.”\u003c/p>\n\u003cfigure id=\"attachment_13915089\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915089 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/03-Megan-Lowe-and-Johnny-Huy-Nguyen-HOMEinSTEAD-Photo-by-Henrik-Kam-800x1217.jpg\" alt=\"Megan Lowe and Johnny Huy Nguyen posing in doorway\" width=\"600\" height=\"915\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe and Johnny Huy Nguyen in ‘HOMEinSTEAD’ (Henrik Kam.) \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst a rise in anti-Asian violence and discrimination, Lowe recently shifted her attention to sharing free and accessible outdoor public art in solidarity with API communities. In 2021 she created the dance film \u003cem>Maw Jaw\u003c/em> in partnership with Asian Pacific Islander Cultural Center, which was presented as a free outdoor event as part of the 24th annual United States of Asian America Festival.\u003c/p>\n\u003cp>The rehearsals activated structures in public spaces around San Francisco’s Chinatown. Lowe invited community members, many of whom were elders, to be part of the creative process. “The work fostered intergenerational connections,” she recalls, “and these connections used dance as a tool to engage with the environment.”\u003c/p>\n\u003cfigure id=\"attachment_13915094\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915094 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg\" alt=\"Woman dancing in urban outdoor setting\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe in ‘Maw Jaw.’ \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe’s dance process is ultimately couched in curiosity and self-discovery. Her practice urges students and collaborators to discover themselves, the people around them and intersections with the world of human experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Megan Lowe and Johnny Huy Nguyen’s HOME(in)STEAD,’ a site-specific performance investigating the meaning of home, runs Friday–Sunday, June 24–26 and July 1-3, at \u003ca href=\"https://500cappstreet.org/events/homeinstead/\">The David Ireland House\u003c/a>. Megan Lowe Dances also partners with the de Young Museum for ‘\u003ca href=\"https://www.meganlowedances.com/upcoming-performances\">No Way You Can Encompass All the Things You Might,\u003c/a>‘ a site-specific dance, live public process, and performance celebration for the closing of the ‘Hung Liu: Golden Gate (金門)’ exhibit, on Saturday, Aug. 6. Learn more at \u003ca href=\"http://meganlowedances.com\">meganlowedances.com\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Megan Lowe Dances invents physical solutions and opens up the imagination to what’s possible.","status":"publish","parent":0,"modified":1705006694,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":368},"headData":{"title":"Megan Lowe Imagines New Dance Connections | KQED","description":"With an affinity for dynamic places and partners, her creations through Megan Lowe Dances tackle unusual physical situations and invent solutions to open up the imagination to what’s possible.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"With an affinity for dynamic places and partners, her creations through Megan Lowe Dances tackle unusual physical situations and invent solutions to open up the imagination to what’s possible."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915067/megan-lowe-imagines-new-dance-connections","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dance is in every fiber of Megan Lowe’s body. Having started dancing when she was three years old, she now has a career as a professional dancer, choreographer, performer, singer-songwriter, filmmaker, and teacher of Chinese and Irish descent.\u003c/p>\n\u003cp>With an affinity for dynamic places and partners, her creations through \u003ca href=\"https://www.meganlowedances.com/\">Megan Lowe Dances\u003c/a> tackle unusual physical situations and invent solutions to open up the imagination to what’s possible. “My artistic process thrives off of collaboration,” she says, “prioritizing creating relationships of respect, generosity, inspiration, gratitude, trust, and whole-hearted support.”\u003c/p>\n\u003cfigure id=\"attachment_13915089\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915089 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/03-Megan-Lowe-and-Johnny-Huy-Nguyen-HOMEinSTEAD-Photo-by-Henrik-Kam-800x1217.jpg\" alt=\"Megan Lowe and Johnny Huy Nguyen posing in doorway\" width=\"600\" height=\"915\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe and Johnny Huy Nguyen in ‘HOMEinSTEAD’ (Henrik Kam.) \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst a rise in anti-Asian violence and discrimination, Lowe recently shifted her attention to sharing free and accessible outdoor public art in solidarity with API communities. In 2021 she created the dance film \u003cem>Maw Jaw\u003c/em> in partnership with Asian Pacific Islander Cultural Center, which was presented as a free outdoor event as part of the 24th annual United States of Asian America Festival.\u003c/p>\n\u003cp>The rehearsals activated structures in public spaces around San Francisco’s Chinatown. Lowe invited community members, many of whom were elders, to be part of the creative process. “The work fostered intergenerational connections,” she recalls, “and these connections used dance as a tool to engage with the environment.”\u003c/p>\n\u003cfigure id=\"attachment_13915094\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915094 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg\" alt=\"Woman dancing in urban outdoor setting\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe in ‘Maw Jaw.’ \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe’s dance process is ultimately couched in curiosity and self-discovery. Her practice urges students and collaborators to discover themselves, the people around them and intersections with the world of human experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Megan Lowe and Johnny Huy Nguyen’s HOME(in)STEAD,’ a site-specific performance investigating the meaning of home, runs Friday–Sunday, June 24–26 and July 1-3, at \u003ca href=\"https://500cappstreet.org/events/homeinstead/\">The David Ireland House\u003c/a>. Megan Lowe Dances also partners with the de Young Museum for ‘\u003ca href=\"https://www.meganlowedances.com/upcoming-performances\">No Way You Can Encompass All the Things You Might,\u003c/a>‘ a site-specific dance, live public process, and performance celebration for the closing of the ‘Hung Liu: Golden Gate (金門)’ exhibit, on Saturday, Aug. 6. Learn more at \u003ca href=\"http://meganlowedances.com\">meganlowedances.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915067/megan-lowe-imagines-new-dance-connections","authors":["11771"],"programs":["arts_17807"],"categories":["arts_1","arts_966"],"tags":["arts_2654","arts_879","arts_1210","arts_17806","arts_10278","arts_3371"],"featImg":"arts_13915070","label":"arts_17807"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13910464":{"type":"posts","id":"arts_13910464","meta":{"index":"posts_1591205157","site":"arts","id":"13910464","score":null,"sort":[1647038514000]},"guestAuthors":[],"slug":"alice-neel-de-young-review-people-come-first","title":"At the de Young, Alice Neel’s Paintings Assert the Dignity of All People","publishDate":1647038514,"format":"standard","headTitle":"At the de Young, Alice Neel’s Paintings Assert the Dignity of All People | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The amazing thing about art—especially art loosed from the constraints of particular movements and eras—is that it can be fresh and revelatory regardless of when it’s encountered. It’s a weird thing, a kind of time travel, to see decades or century-old paintings and feel them scintillate our eyeballs in 2022. Popular, much-reproduced work by so-called “masters” regularly does this in person, in part because the weight of art history tells us this work is beautiful and important.\u003c/p>\n\u003cp>But it’s another thing to encounter artwork that hasn’t had the benefit of decades or centuries of mythologizing, and to instead know in one’s own mind, heart and gut that this work is beautiful and important. Such is the case with the Alice Neel retrospective \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/alice-neel\" rel=\"noopener noreferrer\" target=\"_blank\">People Come First\u003c/a>\u003c/i>. First staged at the Metropolitan Museum of Art, the show’s tour is making its third and final stop at the de Young, where it will introduce many to the painter’s six-decade-plus-career. I predict they’ll be unlikely to forget her.\u003c/p>\n\u003cfigure id=\"attachment_13910489\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200.jpg\" alt=\"Black-and-white image of woman sitting on floor surrounded by paintings\" width=\"1200\" height=\"949\" class=\"size-full wp-image-13910489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sam Brody, ‘Alice Neel with paintings in her apartment,’ 1944. \u003ccite>(Artworks © The Estate of Alice Neel, Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show opens with a 1944 photograph of Neel sitting cross-legged in her studio, surrounded by her “pictures of people” (she resisted the term “portraiture” as stuffy and conservative). This is an image of an artist wholly devoted to her craft: prolific; alone with the work, which rises in jumbled, haphazard stacks above. And yet this image also captures Neel surrounded by others—the friends, colleagues, family and neighbors she invited into her home studio and rendered in oil paint.\u003c/p>\n\u003cp>Throughout \u003ci>People Come First\u003c/i>, the exhibition skillfully mingles both Neel’s epic biography and her subject matter in thematic rather than chronological displays. Born in 1900 to a white, middle-class family in Pennsylvania, Neel bucked the era’s expectations for her gender and social position. She joined the Communist Party; worked for the WPA’s Federal Art Project; took lovers; lived for 24 years in Spanish Harlem; and survived suicide attempts, psychiatric hospitalizations, the death of a child, and the abandonment of a husband (who took their daughter back to Cuba). For many long decades, she also received little to no recognition from an art world obsessed with Abstract Expressionism. \u003c/p>\n\u003cp>In summary, Neel was a radical—both for the way she lived her life, and for what and how she chose to paint. \u003c/p>\n\u003cfigure id=\"attachment_13910491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200.jpg\" alt=\"Painting of two young boys with their heads in their hands\" width=\"1200\" height=\"1399\" class=\"size-full wp-image-13910491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-768x895.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Neel, ‘The Black Boys,’ 1967; oil on canvas, 46 1/4 × 40 inches. \u003ccite>(© The Estate of Alice Neel; Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s title \u003cem>People Come First\u003c/em> refers to a phrase Neel often repeated, asserting her belief in the dignity and importance of all human beings. As with any depiction of others, there is a power dynamic between the artist and her subject, a fact the exhibition wall text takes time to address, particularly in the 1972 painting of Neel’s Black housekeeper and child, \u003ci>Carmen and Judy\u003c/i>. Neel’s privilege as a heterosexual white woman—even a poor one—definitely colored her interactions in leftist, civil rights and feminist communities, but it’s clear she traveled in remarkably diverse circles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while the paintings in \u003ci>People Come First\u003c/i> are undeniably Alice Neel paintings, the people depicted are also completely themselves; an equal sense of personhood is granted to each of her sitters. Some are household names (artist Robert Smithson), while others are known to us only because Neel painted them (a Black Vietnam War draftee named \u003ca href=\"https://www.vulture.com/2016/03/are-you-the-guy-in-this-famous-met-painting.html\" rel=\"noopener noreferrer\" target=\"_blank\">James Hunter\u003c/a>).\u003c/p>\n\u003cp>To me, it’s the directness of Neel’s painting that helps convey that humanity. She rarely relied on preliminary drawings, instead putting down lines (often with blue paint) at the start of each session. A highlight of the de Young exhibition is the pairing of \u003ci>Ginny in a Blue Shirt\u003c/i> (1969), made while visiting her son Hartley and his future wife in San Francisco, and a silent film shot by Hartley that shows its making. “When she hung the painting up on the wall, I had a very strange sensation of being there on the wall and in my body,” Ginny later said. “She caught something I recognized in myself.” \u003c/p>\n\u003cfigure id=\"attachment_13910492\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200.jpg\" alt=\"A painting of a woman in blue shirt and very unfinished painting of man in chair\" width=\"1200\" height=\"1000\" class=\"size-full wp-image-13910492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-768x640.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alice Neel, ‘Ginny in Blue Shirt,’ 1969; R: ‘Black Draftee (James Hunter),’ 1965.\u003cbr> \u003ccite>(Both images © The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While at some stages in her life Neel decried abstract and non-objective art as being “against human beings,” she employed varying levels of abstraction in nearly all her work. She left sections of her paintings unfinished, flattened shapes into solid color and omitted details in order to zero in on certain expressions, objects and clearly relished fabric patterns. (A blue-and-white striped chair appears again and again.)\u003c/p>\n\u003cp>That thrilling combination of representation and abstraction is so contemporary, it’s possible to now take the radicalness of Neel’s work for granted. But one need only to look at \u003ci>Childbirth\u003c/i> (1939), thought to be one of the first Western paintings to represent a woman giving birth, to understand how Neel’s desire to depict all aspects of life made her work so remarkable. She would continue to paint nude pregnant women, and women with their children, throughout her career. \u003c/p>\n\u003cp>Raising two sons largely by herself, painting at home, Neel did not sugarcoat her depictions of motherhood, presenting the labor alongside the love. She struggled with the dual roles of artist and mother in her own life; she only saw her daughter Isabetta twice in her childhood. I see Neel’s one and only self-portrait as a continuation of her work to honor the ever-changing physicality of women’s bodies. At 80, Neel gazes out, naked on her striped chair, with the same unidealized intensity present in her 1964 painting \u003ci>Pregnant Maria\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13910493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200.jpg\" alt=\"Painting of nude older woman holding paint brush in striped chair\" width=\"1200\" height=\"1622\" class=\"size-full wp-image-13910493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-1136x1536.jpg 1136w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Neel, ‘Self-Portrait,’ 1980. \u003ccite>(© The Estate of Alice Neel, 1980; Image courtesy National Portrait Gallery, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting in the 1960s, Neel finally got the attention she’d long sought when the counterculture opened up new audiences for her work. Feminist curators and critics rallied around her, and the Whitney mounted a survey in 1974. When she died in 1984, Neel was widely recognized as the artist she had always been. Critic \u003ca href=\"https://believermag.com/old-women/\" rel=\"noopener noreferrer\" target=\"_blank\">Jillian Steinhauer has written about this phenomenon\u003c/a> of “rediscovering” older women artists, which tends to explain away their earlier lack of success by claiming they were somehow out of sync with artistic trends. “By definition, women, especially women of color, never fit into their times, because the times are not made for them,” Steinhauer writes.\u003c/p>\n\u003cp>It’s important that we not fall into that same trap in our thinking about Neel’s legacy. The project of being an “anarchic humanist,” as Neel described herself, requires that we not regard Neel as a martyr for her art, one who labored in obscurity until she finally got her due. To do so would erase the artist’s own humanity, which was as messy and imperfect as her beautiful and important depictions of ordinary life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Alice Neel: People Come First’ is on view at the de Young Museum March 12–July 10. \u003ca href=\"https://deyoung.famsf.org/exhibitions/alice-neel\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The late artist was a true radical—for the way she lived her life and for what and how she painted.","status":"publish","parent":0,"modified":1705007097,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1288},"headData":{"title":"‘Alice Neel: People Come First’ Review: Imperfect Beauty at de Young | KQED","description":"The late artist was a true radical—for the way she lived her life and for what and how she painted.","ogTitle":"Review: Alice Neel’s 'People Come First' at the de Young Asserts the Dignity of All People","ogDescription":"","ogImgId":"","twTitle":"Review: Alice Neel’s 'People Come First' at the de Young Asserts the Dignity of All People","twDescription":"","twImgId":"","socialTitle":"‘Alice Neel: People Come First’ Review: Imperfect Beauty at de Young %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13910464/alice-neel-de-young-review-people-come-first","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The amazing thing about art—especially art loosed from the constraints of particular movements and eras—is that it can be fresh and revelatory regardless of when it’s encountered. It’s a weird thing, a kind of time travel, to see decades or century-old paintings and feel them scintillate our eyeballs in 2022. Popular, much-reproduced work by so-called “masters” regularly does this in person, in part because the weight of art history tells us this work is beautiful and important.\u003c/p>\n\u003cp>But it’s another thing to encounter artwork that hasn’t had the benefit of decades or centuries of mythologizing, and to instead know in one’s own mind, heart and gut that this work is beautiful and important. Such is the case with the Alice Neel retrospective \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/alice-neel\" rel=\"noopener noreferrer\" target=\"_blank\">People Come First\u003c/a>\u003c/i>. First staged at the Metropolitan Museum of Art, the show’s tour is making its third and final stop at the de Young, where it will introduce many to the painter’s six-decade-plus-career. I predict they’ll be unlikely to forget her.\u003c/p>\n\u003cfigure id=\"attachment_13910489\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200.jpg\" alt=\"Black-and-white image of woman sitting on floor surrounded by paintings\" width=\"1200\" height=\"949\" class=\"size-full wp-image-13910489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-Alice-Neel_1944-JPG-Original-300dpi_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sam Brody, ‘Alice Neel with paintings in her apartment,’ 1944. \u003ccite>(Artworks © The Estate of Alice Neel, Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show opens with a 1944 photograph of Neel sitting cross-legged in her studio, surrounded by her “pictures of people” (she resisted the term “portraiture” as stuffy and conservative). This is an image of an artist wholly devoted to her craft: prolific; alone with the work, which rises in jumbled, haphazard stacks above. And yet this image also captures Neel surrounded by others—the friends, colleagues, family and neighbors she invited into her home studio and rendered in oil paint.\u003c/p>\n\u003cp>Throughout \u003ci>People Come First\u003c/i>, the exhibition skillfully mingles both Neel’s epic biography and her subject matter in thematic rather than chronological displays. Born in 1900 to a white, middle-class family in Pennsylvania, Neel bucked the era’s expectations for her gender and social position. She joined the Communist Party; worked for the WPA’s Federal Art Project; took lovers; lived for 24 years in Spanish Harlem; and survived suicide attempts, psychiatric hospitalizations, the death of a child, and the abandonment of a husband (who took their daughter back to Cuba). For many long decades, she also received little to no recognition from an art world obsessed with Abstract Expressionism. \u003c/p>\n\u003cp>In summary, Neel was a radical—both for the way she lived her life, and for what and how she chose to paint. \u003c/p>\n\u003cfigure id=\"attachment_13910491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200.jpg\" alt=\"Painting of two young boys with their heads in their hands\" width=\"1200\" height=\"1399\" class=\"size-full wp-image-13910491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IA-2Neel_The_Black_Boys-JPG-Original-300dpi_1200-768x895.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Neel, ‘The Black Boys,’ 1967; oil on canvas, 46 1/4 × 40 inches. \u003ccite>(© The Estate of Alice Neel; Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s title \u003cem>People Come First\u003c/em> refers to a phrase Neel often repeated, asserting her belief in the dignity and importance of all human beings. As with any depiction of others, there is a power dynamic between the artist and her subject, a fact the exhibition wall text takes time to address, particularly in the 1972 painting of Neel’s Black housekeeper and child, \u003ci>Carmen and Judy\u003c/i>. Neel’s privilege as a heterosexual white woman—even a poor one—definitely colored her interactions in leftist, civil rights and feminist communities, but it’s clear she traveled in remarkably diverse circles. \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>And while the paintings in \u003ci>People Come First\u003c/i> are undeniably Alice Neel paintings, the people depicted are also completely themselves; an equal sense of personhood is granted to each of her sitters. Some are household names (artist Robert Smithson), while others are known to us only because Neel painted them (a Black Vietnam War draftee named \u003ca href=\"https://www.vulture.com/2016/03/are-you-the-guy-in-this-famous-met-painting.html\" rel=\"noopener noreferrer\" target=\"_blank\">James Hunter\u003c/a>).\u003c/p>\n\u003cp>To me, it’s the directness of Neel’s painting that helps convey that humanity. She rarely relied on preliminary drawings, instead putting down lines (often with blue paint) at the start of each session. A highlight of the de Young exhibition is the pairing of \u003ci>Ginny in a Blue Shirt\u003c/i> (1969), made while visiting her son Hartley and his future wife in San Francisco, and a silent film shot by Hartley that shows its making. “When she hung the painting up on the wall, I had a very strange sensation of being there on the wall and in my body,” Ginny later said. “She caught something I recognized in myself.” \u003c/p>\n\u003cfigure id=\"attachment_13910492\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200.jpg\" alt=\"A painting of a woman in blue shirt and very unfinished painting of man in chair\" width=\"1200\" height=\"1000\" class=\"size-full wp-image-13910492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ginny-in-Blue-Shirt_Black-Draftee_1200-768x640.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alice Neel, ‘Ginny in Blue Shirt,’ 1969; R: ‘Black Draftee (James Hunter),’ 1965.\u003cbr> \u003ccite>(Both images © The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While at some stages in her life Neel decried abstract and non-objective art as being “against human beings,” she employed varying levels of abstraction in nearly all her work. She left sections of her paintings unfinished, flattened shapes into solid color and omitted details in order to zero in on certain expressions, objects and clearly relished fabric patterns. (A blue-and-white striped chair appears again and again.)\u003c/p>\n\u003cp>That thrilling combination of representation and abstraction is so contemporary, it’s possible to now take the radicalness of Neel’s work for granted. But one need only to look at \u003ci>Childbirth\u003c/i> (1939), thought to be one of the first Western paintings to represent a woman giving birth, to understand how Neel’s desire to depict all aspects of life made her work so remarkable. She would continue to paint nude pregnant women, and women with their children, throughout her career. \u003c/p>\n\u003cp>Raising two sons largely by herself, painting at home, Neel did not sugarcoat her depictions of motherhood, presenting the labor alongside the love. She struggled with the dual roles of artist and mother in her own life; she only saw her daughter Isabetta twice in her childhood. I see Neel’s one and only self-portrait as a continuation of her work to honor the ever-changing physicality of women’s bodies. At 80, Neel gazes out, naked on her striped chair, with the same unidealized intensity present in her 1964 painting \u003ci>Pregnant Maria\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13910493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200.jpg\" alt=\"Painting of nude older woman holding paint brush in striped chair\" width=\"1200\" height=\"1622\" class=\"size-full wp-image-13910493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/NPG_85_19-NEEL-R_5_1200-1136x1536.jpg 1136w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Neel, ‘Self-Portrait,’ 1980. \u003ccite>(© The Estate of Alice Neel, 1980; Image courtesy National Portrait Gallery, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting in the 1960s, Neel finally got the attention she’d long sought when the counterculture opened up new audiences for her work. Feminist curators and critics rallied around her, and the Whitney mounted a survey in 1974. When she died in 1984, Neel was widely recognized as the artist she had always been. Critic \u003ca href=\"https://believermag.com/old-women/\" rel=\"noopener noreferrer\" target=\"_blank\">Jillian Steinhauer has written about this phenomenon\u003c/a> of “rediscovering” older women artists, which tends to explain away their earlier lack of success by claiming they were somehow out of sync with artistic trends. “By definition, women, especially women of color, never fit into their times, because the times are not made for them,” Steinhauer writes.\u003c/p>\n\u003cp>It’s important that we not fall into that same trap in our thinking about Neel’s legacy. The project of being an “anarchic humanist,” as Neel described herself, requires that we not regard Neel as a martyr for her art, one who labored in obscurity until she finally got her due. To do so would erase the artist’s own humanity, which was as messy and imperfect as her beautiful and important depictions of ordinary life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Alice Neel: People Come First’ is on view at the de Young Museum March 12–July 10. \u003ca href=\"https://deyoung.famsf.org/exhibitions/alice-neel\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910464/alice-neel-de-young-review-people-come-first","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_10278","arts_1962","arts_6298","arts_16667","arts_2636","arts_585"],"featImg":"arts_13910488","label":"arts_140"},"arts_13901605":{"type":"posts","id":"arts_13901605","meta":{"index":"posts_1591205157","site":"arts","id":"13901605","score":null,"sort":[1629842347000]},"guestAuthors":[],"slug":"hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her","publishDate":1629842347,"format":"audio","headTitle":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LV8e43K2zCI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n","blocks":[],"excerpt":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","status":"publish","parent":0,"modified":1705007911,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1522},"headData":{"title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","description":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/197ca0c1-5431-464d-910c-ad8e01221b79/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","audioDuration":420000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LV8e43K2zCI'\n title='//www.youtube.com/embed/LV8e43K2zCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","authors":["8608"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_10278","arts_3181","arts_2299","arts_1091"],"featImg":"arts_13901622","label":"arts"},"arts_13896924":{"type":"posts","id":"arts_13896924","meta":{"index":"posts_1591205157","site":"arts","id":"13896924","score":null,"sort":[1620431752000]},"guestAuthors":[],"slug":"calder-picasso-de-young-review","title":"‘Calder-Picasso’ Pairs the Art—Not the Artists—In a Decades-Long Discourse","publishDate":1620431752,"format":"standard","headTitle":"‘Calder-Picasso’ Pairs the Art—Not the Artists—In a Decades-Long Discourse | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Strolling through \u003ci>Calder-Picasso\u003c/i> without paying heed to any of the wall text, one might think the two giants of modern art were great friends, so clearly do their artworks seem to echo and respond to one another over the many decades of their careers. But in fact, Alexander Calder and Pablo Picasso only met in person a few times. They did not correspond or trade art. Calder even wrote of Picasso’s interest in others’ work: “He comes to \u003ci>new\u003c/i> shows hoping to pick up something he can use—I guess.” Touché!\u003c/p>\n\u003cp>But their passing personal encounters (possibly accompanied, in Calder’s case, by a wary side-eye) are just a footnote in this highly engaging exhibition, on view at the de Young Museum through May 23. That’s because \u003ci>Calder-Picasso\u003c/i> presents a discourse not between two artists, but between the artworks themselves.\u003c/p>\n\u003cp>First staged in 2019 at the Musée Picasso in Paris and organized by Bernard Ruiz-Picasso and Alexander S. C. Rower (the artists’ grandsons), the show is arranged in thematic groupings that include both modes of making (“Folding & Piercing”) and artistic concepts (“The Void & The Volume”). \u003ci>Calder-Picasso\u003c/i> juxtaposes two practices that still have plenty to say about approaches to abstraction, color, composition, the transmutation of materials and the seemingly inexhaustible creativity that makes these artists’ work so exciting to see nearly 50 years after their deaths.\u003c/p>\n\u003cfigure id=\"attachment_13896929\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13896929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Calder, ‘Hercules and Lion,’ 1928 on view in ‘Calder-Picasso’ at the de Young Museum. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with the start of Calder’s art career: his 1926 move, at the age of 27, from New York to Paris. Picasso, of course, was already internationally known and two decades older, but the earliest Calder works at the de Young are effortlessly self-assured. \u003c/p>\n\u003cp>In Calder’s large hanging piece \u003ci>Hercules and Lion\u003c/i> (1928), the mythological hero’s burly shoulders are emphasized with loops of wire, his feet splayed in a dynamic pose to counterbalance the attack of a curly-maned lion. In the comparatively diminutive \u003ci>Acrobat\u003c/i> from 1929, a simple coil becomes the triumphant athlete’s armpit hair. These are line drawings in three-dimensional space: expressive, playful and often gently kinetic. It makes sense that Calder’s nickname in Paris was “The King of Wire.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the same time, Picasso’s interest in line and movement is represented in a delicate drawing of dancing women; a painting of a deconstructed female figure; and a small, crude body twisted out of thick wire. He too, loved acrobats, but here, they are contained within the rectangular bounds of a canvas surface. Even the maquette for Picasso’s proposed monument to the French poet Guillaume Apollinaire, rendered in wire and sheet metal, maintains a rigid geometry. \u003c/p>\n\u003cfigure id=\"attachment_13896932\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200.jpg\" alt=\"\" width=\"1200\" height=\"766\" class=\"size-full wp-image-13896932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alexander Calder, ‘Acrobat,’ 1929. R: Pablo Picasso, ‘Figure (Project for a Monument to Guillaume Apollinaire),’ 1928. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; L: Philip Charles; R: Béatrice Hatala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Calder’s work is light and airy, Picasso’s is solid and dense. Calder’s renderings of figures give way to abstraction in 1931, which he described as “a more minute system of bodies, an atmospheric condition, or even a void.” Picasso’s 1932 painting \u003ci>Nu couché (Reclining Nude)\u003c/i>, flanked by Calder’s planet-like \u003ci>Croisière\u003c/i> and triangular-based stabile \u003ci>Object with Red Discs\u003c/i> begins to look less like a lounging woman and more like a collection of spheres, S-curves and wavy, radiating lines. (This effect continues in Picasso’s \u003ci>Femme assise dans un fauteuil rouge\u003c/i>, which could be a painting of a bronze sculpture of Platonic solids, and the eerie woman-as-robot \u003ci>Femme au fauteuil rouge\u003c/i>.)\u003c/p>\n\u003cp>Wall text takes care to emphasize that though some of Calder’s painted metal mobiles may \u003ci>look\u003c/i> like leaves, and though one of his sculptures may have the title \u003ci>Wooden Bottle with Hairs\u003c/i> (delightful!), these objects are not representational. But neither are they wholly abstract. Both artists’ work, in fact, rejects such strict demarcations. A catalog essay by Donatien Grau urges a more fluid view: “Abstraction is not a fixed format, separated from the human; quite the opposite, it is a process that keeps evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13896933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200.jpg\" alt=\"\" width=\"1200\" height=\"598\" class=\"size-full wp-image-13896933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-768x383.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alexander Calder, ‘Croisière,’ 1931. R: Pablo Picasso, ‘Nu couché,’ 1932. © 2021 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; L: Tom Powel Imaging; R: Adrien Didierjean)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that vein, Jed Perl writes that Calder’s “radically minimalist sculptures … grew out of his feeling for the curve of a dancer’s thigh or the angle of a shotputter’s arm.” An interest in the shapes and movements of bodies became an interest in shapes and movements. Calder did not abandon the real world in 1931, Grau and Perl both argue, he expanded our understanding of it. While Picasso’s work returns constantly to the human form (in particular, the female form), Calder’s ranges outside human experience to encompass the forces of nature and the shape of galaxies.\u003c/p>\n\u003cp>As their careers grew and their artworks scaled up (even as women became shapes and cosmologies became crisp arrangements of wood and wire), a surprising sense of warmth—of the artists’ hands—persists. In 1944, Calder created models for an unrealized architecture project, represented in this show by three brass and aluminum pieces. They are uncharacteristically bulky, but still made with balancing, interlocking elements that would have been cast in concrete to hover (terrifyingly) 30–40 feet above the street.\u003c/p>\n\u003cfigure id=\"attachment_13896930\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13896930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso, ‘Le Taureau (The Bull),’ 1945, on view in ‘Calder-Picasso’ at the de Young Museum. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Picasso translated cut and folded paper into large sheet-metal sculptures that retained their hand-wrought-ness. His \u003ci>Woman with Outstretched Arms\u003c/i> (1961) is angular and cheerful. Despite her pointy edges, she looks huggable.\u003c/p>\n\u003cp>Ultimately, the pleasure in \u003ci>Calder-Picasso\u003c/i> comes from seeing connections and identifying echoes between artworks one might not have previously considered alongside each other. Calder may have revolutionized sculptures by making them move, but in this context, it’s clear that Picasso’s works are also active. \u003c/p>\n\u003cp>There’s the movement of his brushstrokes, and the movement of a viewer’s eye as it travels across a deconstructed form. His 11-part lithograph series \u003ci>Le Taureau (The Bull)\u003c/i> repeats the image of a bull as it clarifies into just the few curves required to convey its essence. It’s a storyboard, a series of still images in a stop-motion animation about the exciting space between figuration and abstraction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Calder-Picasso’ is on view at San Francisco’s de Young Museum through May 23. \u003ca href=\"https://deyoung.famsf.org/exhibitions/calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The de Young exhibition proves the artists’ work still has plenty to say nearly 50 years after their deaths.","status":"publish","parent":0,"modified":1705008406,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1207},"headData":{"title":"‘Calder-Picasso’ Pairs the Art—Not the Artists—In a Decades-Long Discourse | KQED","description":"The de Young exhibition proves the artists’ work still has plenty to say nearly 50 years after their deaths.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13896924/calder-picasso-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Strolling through \u003ci>Calder-Picasso\u003c/i> without paying heed to any of the wall text, one might think the two giants of modern art were great friends, so clearly do their artworks seem to echo and respond to one another over the many decades of their careers. But in fact, Alexander Calder and Pablo Picasso only met in person a few times. They did not correspond or trade art. Calder even wrote of Picasso’s interest in others’ work: “He comes to \u003ci>new\u003c/i> shows hoping to pick up something he can use—I guess.” Touché!\u003c/p>\n\u003cp>But their passing personal encounters (possibly accompanied, in Calder’s case, by a wary side-eye) are just a footnote in this highly engaging exhibition, on view at the de Young Museum through May 23. That’s because \u003ci>Calder-Picasso\u003c/i> presents a discourse not between two artists, but between the artworks themselves.\u003c/p>\n\u003cp>First staged in 2019 at the Musée Picasso in Paris and organized by Bernard Ruiz-Picasso and Alexander S. C. Rower (the artists’ grandsons), the show is arranged in thematic groupings that include both modes of making (“Folding & Piercing”) and artistic concepts (“The Void & The Volume”). \u003ci>Calder-Picasso\u003c/i> juxtaposes two practices that still have plenty to say about approaches to abstraction, color, composition, the transmutation of materials and the seemingly inexhaustible creativity that makes these artists’ work so exciting to see nearly 50 years after their deaths.\u003c/p>\n\u003cfigure id=\"attachment_13896929\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13896929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/725_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Calder, ‘Hercules and Lion,’ 1928 on view in ‘Calder-Picasso’ at the de Young Museum. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with the start of Calder’s art career: his 1926 move, at the age of 27, from New York to Paris. Picasso, of course, was already internationally known and two decades older, but the earliest Calder works at the de Young are effortlessly self-assured. \u003c/p>\n\u003cp>In Calder’s large hanging piece \u003ci>Hercules and Lion\u003c/i> (1928), the mythological hero’s burly shoulders are emphasized with loops of wire, his feet splayed in a dynamic pose to counterbalance the attack of a curly-maned lion. In the comparatively diminutive \u003ci>Acrobat\u003c/i> from 1929, a simple coil becomes the triumphant athlete’s armpit hair. These are line drawings in three-dimensional space: expressive, playful and often gently kinetic. It makes sense that Calder’s nickname in Paris was “The King of Wire.”\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>At the same time, Picasso’s interest in line and movement is represented in a delicate drawing of dancing women; a painting of a deconstructed female figure; and a small, crude body twisted out of thick wire. He too, loved acrobats, but here, they are contained within the rectangular bounds of a canvas surface. Even the maquette for Picasso’s proposed monument to the French poet Guillaume Apollinaire, rendered in wire and sheet metal, maintains a rigid geometry. \u003c/p>\n\u003cfigure id=\"attachment_13896932\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200.jpg\" alt=\"\" width=\"1200\" height=\"766\" class=\"size-full wp-image-13896932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/calder_acrobat_picasso-apollinaire_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alexander Calder, ‘Acrobat,’ 1929. R: Pablo Picasso, ‘Figure (Project for a Monument to Guillaume Apollinaire),’ 1928. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; L: Philip Charles; R: Béatrice Hatala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Calder’s work is light and airy, Picasso’s is solid and dense. Calder’s renderings of figures give way to abstraction in 1931, which he described as “a more minute system of bodies, an atmospheric condition, or even a void.” Picasso’s 1932 painting \u003ci>Nu couché (Reclining Nude)\u003c/i>, flanked by Calder’s planet-like \u003ci>Croisière\u003c/i> and triangular-based stabile \u003ci>Object with Red Discs\u003c/i> begins to look less like a lounging woman and more like a collection of spheres, S-curves and wavy, radiating lines. (This effect continues in Picasso’s \u003ci>Femme assise dans un fauteuil rouge\u003c/i>, which could be a painting of a bronze sculpture of Platonic solids, and the eerie woman-as-robot \u003ci>Femme au fauteuil rouge\u003c/i>.)\u003c/p>\n\u003cp>Wall text takes care to emphasize that though some of Calder’s painted metal mobiles may \u003ci>look\u003c/i> like leaves, and though one of his sculptures may have the title \u003ci>Wooden Bottle with Hairs\u003c/i> (delightful!), these objects are not representational. But neither are they wholly abstract. Both artists’ work, in fact, rejects such strict demarcations. A catalog essay by Donatien Grau urges a more fluid view: “Abstraction is not a fixed format, separated from the human; quite the opposite, it is a process that keeps evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13896933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200.jpg\" alt=\"\" width=\"1200\" height=\"598\" class=\"size-full wp-image-13896933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Calder_Croisiere_picasso-Nu-couchee_1200-768x383.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Alexander Calder, ‘Croisière,’ 1931. R: Pablo Picasso, ‘Nu couché,’ 1932. © 2021 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; L: Tom Powel Imaging; R: Adrien Didierjean)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that vein, Jed Perl writes that Calder’s “radically minimalist sculptures … grew out of his feeling for the curve of a dancer’s thigh or the angle of a shotputter’s arm.” An interest in the shapes and movements of bodies became an interest in shapes and movements. Calder did not abandon the real world in 1931, Grau and Perl both argue, he expanded our understanding of it. While Picasso’s work returns constantly to the human form (in particular, the female form), Calder’s ranges outside human experience to encompass the forces of nature and the shape of galaxies.\u003c/p>\n\u003cp>As their careers grew and their artworks scaled up (even as women became shapes and cosmologies became crisp arrangements of wood and wire), a surprising sense of warmth—of the artists’ hands—persists. In 1944, Calder created models for an unrealized architecture project, represented in this show by three brass and aluminum pieces. They are uncharacteristically bulky, but still made with balancing, interlocking elements that would have been cast in concrete to hover (terrifyingly) 30–40 feet above the street.\u003c/p>\n\u003cfigure id=\"attachment_13896930\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13896930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/817_deYoung_Calder-Picasso_GarySexton_2.24.21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso, ‘Le Taureau (The Bull),’ 1945, on view in ‘Calder-Picasso’ at the de Young Museum. \u003ccite>(Courtesy Fine Arts Museums of San Francisco; photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Picasso translated cut and folded paper into large sheet-metal sculptures that retained their hand-wrought-ness. His \u003ci>Woman with Outstretched Arms\u003c/i> (1961) is angular and cheerful. Despite her pointy edges, she looks huggable.\u003c/p>\n\u003cp>Ultimately, the pleasure in \u003ci>Calder-Picasso\u003c/i> comes from seeing connections and identifying echoes between artworks one might not have previously considered alongside each other. Calder may have revolutionized sculptures by making them move, but in this context, it’s clear that Picasso’s works are also active. \u003c/p>\n\u003cp>There’s the movement of his brushstrokes, and the movement of a viewer’s eye as it travels across a deconstructed form. His 11-part lithograph series \u003ci>Le Taureau (The Bull)\u003c/i> repeats the image of a bull as it clarifies into just the few curves required to convey its essence. It’s a storyboard, a series of still images in a stop-motion animation about the exciting space between figuration and abstraction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Calder-Picasso’ is on view at San Francisco’s de Young Museum through May 23. \u003ca href=\"https://deyoung.famsf.org/exhibitions/calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13896924/calder-picasso-de-young-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1210","arts_10278","arts_769","arts_585","arts_901"],"featImg":"arts_13896931","label":"arts_140"},"arts_13895358":{"type":"posts","id":"arts_13895358","meta":{"index":"posts_1591205157","site":"arts","id":"13895358","score":null,"sort":[1617913036000]},"guestAuthors":[],"slug":"black-art-worlds-discusses-power-dynamics-between-black-artists-and-institutions","title":"‘Black Art Worlds’ Discusses Power Dynamics Between Black Artists and Institutions","publishDate":1617913036,"format":"standard","headTitle":"‘Black Art Worlds’ Discusses Power Dynamics Between Black Artists and Institutions | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On Wednesday, April 14, the Fine Arts Museums of San Francisco will host their second program in partnership with the Bay Area collective \u003ca href=\"https://www.seeblackwomxn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SeeBlackWomxn\u003c/a>, a group made up of activists, writers, artists and curators. Featuring a conversation between a panel of Black female artists and leaders, “\u003ca href=\"https://deyoung.famsf.org/calendar/black-art-worlds-seeblackwomxn\" target=\"_blank\" rel=\"noopener noreferrer\">Black Art Worlds\u003c/a>” will explore power dynamics and examine the relationships between artists and the institutions that provide them with platforms.\u003c/p>\n\u003cp>SeeBlackWomxn co-founder \u003ca href=\"http://www.danakingart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dana King\u003c/a> is a classical figurative sculptor whose public sculptures are located at the Memorial for Peace and Justice in Montgomery, Alabama, in New Haven, Connecticut and in Berkeley. She recently created a bronze sculpture of Huey Newton, co-founder of the Black Panther Party, that will be installed at \u003ca href=\"https://www.kqed.org/arts/13892699/a-judas-and-the-black-messiah-screening-mural-unveiling-and-more-to-celebrate-the-black-panthers\">the newly named Dr. Huey P. Newton Way\u003c/a> in West Oakland, California. On April 14, she’ll be joined in conversation by Rosie Gordon-Wallace (\u003ca href=\"http://dvcai.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Diaspora Vibe Culture Arts Incubator\u003c/a> founder), Lisa Dent (executive director of \u003ca href=\"https://artspacenewhaven.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artspace New Haven\u003c/a>), and Tracy Brown.\u003c/p>\n\u003cp>This second installment in the five-part event series poses the question, “Are Black creatives just grinding in the art world or do they have any influence in the expansion and future thought of Black narratives?” The partnership with the SeeBlackWomxn collective is part of the de Young and Legion of Honor’s new \u003ca href=\"https://deyoung.famsf.org/virtual-wednesdays\" target=\"_blank\" rel=\"noopener noreferrer\">Virtual Wednesdays\u003c/a> initiative.\u003c/p>\n\u003cp>The de Young has also announced the third season of the \u003ci>\u003ca href=\"https://deyoung.famsf.org/programs/local-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Local Voices\u003c/a>\u003c/i> podcast, which examines the way public art has shaped the Bay Area. One episode of the third season will feature Dana King’s perspective on the history of bronze public monuments, another will feature the members of SeeBlackWomxn.\u003c/p>\n\u003cp>\u003ci>To view a full list of upcoming virtual museum programs, \u003ca href=\"https://www.famsf.org/press-room/tap-seeblackwomxn-events-launch-season-community-partnerships-dynamic-programming\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>. The first program in the series—“Black Reactions”—aired on March 10, and is available to \u003ca href=\"https://youtu.be/gh8ORGXrHR4\" target=\"_blank\" rel=\"noopener noreferrer\">view online\u003c/a>. “Black Art Worlds” will livestream on Wednesday, April 14, at 5pm. \u003ca href=\"https://deyoung.famsf.org/calendar/black-art-worlds-seeblackwomxn\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A partnership between SeeBlackWomxn and the Fine Arts Museums brings Black female artists and leaders into conversation.","status":"publish","parent":0,"modified":1705019203,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":328},"headData":{"title":"‘Black Art Worlds’ Discusses Power Dynamics Between Black Artists and Institutions | KQED","description":"A partnership between SeeBlackWomxn and the Fine Arts Museums brings Black female artists and leaders into conversation.","ogTitle":"","ogDescription":"","ogImgId":"arts_13895449","twTitle":"","twDescription":"","twImgId":"arts_13895449"},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13895358/black-art-worlds-discusses-power-dynamics-between-black-artists-and-institutions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, April 14, the Fine Arts Museums of San Francisco will host their second program in partnership with the Bay Area collective \u003ca href=\"https://www.seeblackwomxn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SeeBlackWomxn\u003c/a>, a group made up of activists, writers, artists and curators. Featuring a conversation between a panel of Black female artists and leaders, “\u003ca href=\"https://deyoung.famsf.org/calendar/black-art-worlds-seeblackwomxn\" target=\"_blank\" rel=\"noopener noreferrer\">Black Art Worlds\u003c/a>” will explore power dynamics and examine the relationships between artists and the institutions that provide them with platforms.\u003c/p>\n\u003cp>SeeBlackWomxn co-founder \u003ca href=\"http://www.danakingart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dana King\u003c/a> is a classical figurative sculptor whose public sculptures are located at the Memorial for Peace and Justice in Montgomery, Alabama, in New Haven, Connecticut and in Berkeley. She recently created a bronze sculpture of Huey Newton, co-founder of the Black Panther Party, that will be installed at \u003ca href=\"https://www.kqed.org/arts/13892699/a-judas-and-the-black-messiah-screening-mural-unveiling-and-more-to-celebrate-the-black-panthers\">the newly named Dr. Huey P. Newton Way\u003c/a> in West Oakland, California. On April 14, she’ll be joined in conversation by Rosie Gordon-Wallace (\u003ca href=\"http://dvcai.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Diaspora Vibe Culture Arts Incubator\u003c/a> founder), Lisa Dent (executive director of \u003ca href=\"https://artspacenewhaven.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artspace New Haven\u003c/a>), and Tracy Brown.\u003c/p>\n\u003cp>This second installment in the five-part event series poses the question, “Are Black creatives just grinding in the art world or do they have any influence in the expansion and future thought of Black narratives?” The partnership with the SeeBlackWomxn collective is part of the de Young and Legion of Honor’s new \u003ca href=\"https://deyoung.famsf.org/virtual-wednesdays\" target=\"_blank\" rel=\"noopener noreferrer\">Virtual Wednesdays\u003c/a> initiative.\u003c/p>\n\u003cp>The de Young has also announced the third season of the \u003ci>\u003ca href=\"https://deyoung.famsf.org/programs/local-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Local Voices\u003c/a>\u003c/i> podcast, which examines the way public art has shaped the Bay Area. One episode of the third season will feature Dana King’s perspective on the history of bronze public monuments, another will feature the members of SeeBlackWomxn.\u003c/p>\n\u003cp>\u003ci>To view a full list of upcoming virtual museum programs, \u003ca href=\"https://www.famsf.org/press-room/tap-seeblackwomxn-events-launch-season-community-partnerships-dynamic-programming\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>. The first program in the series—“Black Reactions”—aired on March 10, and is available to \u003ca href=\"https://youtu.be/gh8ORGXrHR4\" target=\"_blank\" rel=\"noopener noreferrer\">view online\u003c/a>. “Black Art Worlds” will livestream on Wednesday, April 14, at 5pm. \u003ca href=\"https://deyoung.famsf.org/calendar/black-art-worlds-seeblackwomxn\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13895358/black-art-worlds-discusses-power-dynamics-between-black-artists-and-institutions","authors":["11734"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1210","arts_4487","arts_1956","arts_585","arts_901"],"featImg":"arts_13895568","label":"arts_140"},"arts_13845085":{"type":"posts","id":"arts_13845085","meta":{"index":"posts_1591205157","site":"arts","id":"13845085","score":null,"sort":[1542412766000]},"guestAuthors":[],"slug":"escape-the-smoke-these-san-francisco-museums-are-free-this-weekend","title":"Escape the Smoke: These San Francisco Museums Are Free This Weekend","publishDate":1542412766,"format":"image","headTitle":"Escape the Smoke: These San Francisco Museums Are Free This Weekend | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As the Butte County fire rages on and air quality reaches “very unhealthy” and “hazardous” levels across Northern California, Bay Area residents have been advised to stay indoors as much as possible to avoid breathing in the toxic particles in the atmosphere. Fortunately, many of San Francisco’s world-class art museums are opening their doors for free this weekend—not only to offer local art lovers an escape from the outside air, but to provide some much-needed spiritual nourishment as the fire’s death toll climbs. [contextly_sidebar id=”2RbXaT6m7FBO5y2ZlHHowqUPbU7EOtzg”]\u003c/p>\n\u003ch2>San Francisco Museum of Modern Art\u003c/h2>\n\u003cp>Like it did last weekend when the smoke first hit, \u003ca href=\"https://www.facebook.com/sfmoma/?__tn__=kC-R&eid=ARBuSaLGPNquaftk2d379dz0NlrJg_8dT8DBlh_vAg-8uBL6alpVuDKEVebYMtIg557D9EezM2ATQ62F&hc_ref=ARSKQU9mAo9xl-0COY42njDgVYo1uDzGG02U-biP4kWiCQ8Z4b-7pgb_RyVSSo8W0gg&fref=nf&__xts__%5B0%5D=68.ARCCF5FNBzz9lUp2vw0-UQDZB9frVfQhp_dlF6vYtqZNjGq2ucMImjrDPfmV-Bz2RhJGSX1Cr4uh1mcvkK9yem3Gio7UVfZQUPP47cv-NKeVl7OawX9BfYRb-oCTkMLfko_0xGCEmapLGv_sLIPtqhxhC6Wwq7NVml6N_G0Pr8wiox5ZRR-3w8ADWwocSGy-zuwj3nQJuyhtKamp-TXd33wOHZz1V0G2iqiL0l7Ax8hp_GrBlo0DZHIITpCN8ENVZcXEA55OJZmvPmAJ0UMJrPGO2BEKQaUshcYP-RqWZUmMthiRJFkomy1BPYs-4YIzAbvgO7Grv6jNhoiNyQ\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> offers its second-floor gallery free of charge on Nov. 17 and 18, no ticket required. The museum’s second floor houses its \u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a>, which features painting and sculpture by renowned artists like Frida Kahlo, Marcel Duchamp, Diego Rivera, Mark Rothko, Frank Stella and more. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows are also free.\u003c/p>\n\u003ch2>Asian Art Museum\u003c/h2>\n\u003cp>[contextly_sidebar id=”ygdoAXCWGka6xjkzlMTtDrJEDSIyWeyh”]\u003cbr>\nThe Asian Art Museum is free today, Nov. 16, through Nov. 18. Its offerings include the vibrant contemporary exhibit \u003ca href=\"http://www.asianart.org/exhibitions/mithila-painting\" target=\"_blank\" rel=\"noopener\">\u003cem>Painting Is My Everything: Art From India’s Mithila Region\u003c/em>\u003c/a>; Haroon Mirza’s nightclub-meets-temple installation \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Night Journey\u003c/em>\u003c/a>; and contemporary Korean artist Kim Heecheon’s \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>Lifting Barbells\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>Museum of the African Diaspora\u003c/h2>\n\u003cp>Smithsonian affiliate MoAD offers free admission today through Nov. 18. The museum’s current offerings include the first West Coast solo show of Eritrean-American abstract painter \u003ca href=\"https://www.moadsf.org/exhibition/ficre-ghebreyesus-city-with-a-river-running-through/\" target=\"_blank\" rel=\"noopener\">Ficre Ghebreyesus\u003c/a>; \u003ca href=\"https://www.moadsf.org/exhibition/second-look-twice/\" target=\"_blank\" rel=\"noopener\">\u003cem>Second Look, Twice\u003c/em>\u003c/a>, a group show featuring renowned artists like Kara Walker and Martin Puryear; emerging Bay Area artist Shushan Tesfuzigta’s solo show, \u003ca href=\"https://www.moadsf.org/exhibition/i-told-you-who-am-i/\" target=\"_blank\" rel=\"noopener\">\u003cem>I Told You Who Am I\u003c/em>\u003c/a>; and the 5/5 collective’s exhibition, \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-5-5-collective/\" target=\"_blank\" rel=\"noopener\">\u003cem>black no(where)\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>deYoung Museum\u003c/h2>\n\u003cp>[contextly_sidebar id=”hmSnwbSFERi1usyO6LcNVMNEG8wg3eLm”]\u003cbr>\nThe deYoung Museum offers its large \u003ca href=\"https://deyoung.famsf.org/collections\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a> for free today through Nov. 18. It features vast arrays of African, Oceanic and North and South American folk art; photography; textile art; and a graphic arts collection with names like Rembrandt and Degas. Its excellent, new Muslim fashion exhibit is open for an additional fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"SFMOMA, MoAD, the de Young and Asian Art Museum want to give local residents some relief from the bad air. ","status":"publish","parent":0,"modified":1705027004,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":380},"headData":{"title":"Escape the Smoke: These San Francisco Museums Are Free This Weekend | KQED","description":"SFMOMA, MoAD, the de Young and Asian Art Museum want to give local residents some relief from the bad air. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13845085/escape-the-smoke-these-san-francisco-museums-are-free-this-weekend","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Butte County fire rages on and air quality reaches “very unhealthy” and “hazardous” levels across Northern California, Bay Area residents have been advised to stay indoors as much as possible to avoid breathing in the toxic particles in the atmosphere. Fortunately, many of San Francisco’s world-class art museums are opening their doors for free this weekend—not only to offer local art lovers an escape from the outside air, but to provide some much-needed spiritual nourishment as the fire’s death toll climbs. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>San Francisco Museum of Modern Art\u003c/h2>\n\u003cp>Like it did last weekend when the smoke first hit, \u003ca href=\"https://www.facebook.com/sfmoma/?__tn__=kC-R&eid=ARBuSaLGPNquaftk2d379dz0NlrJg_8dT8DBlh_vAg-8uBL6alpVuDKEVebYMtIg557D9EezM2ATQ62F&hc_ref=ARSKQU9mAo9xl-0COY42njDgVYo1uDzGG02U-biP4kWiCQ8Z4b-7pgb_RyVSSo8W0gg&fref=nf&__xts__%5B0%5D=68.ARCCF5FNBzz9lUp2vw0-UQDZB9frVfQhp_dlF6vYtqZNjGq2ucMImjrDPfmV-Bz2RhJGSX1Cr4uh1mcvkK9yem3Gio7UVfZQUPP47cv-NKeVl7OawX9BfYRb-oCTkMLfko_0xGCEmapLGv_sLIPtqhxhC6Wwq7NVml6N_G0Pr8wiox5ZRR-3w8ADWwocSGy-zuwj3nQJuyhtKamp-TXd33wOHZz1V0G2iqiL0l7Ax8hp_GrBlo0DZHIITpCN8ENVZcXEA55OJZmvPmAJ0UMJrPGO2BEKQaUshcYP-RqWZUmMthiRJFkomy1BPYs-4YIzAbvgO7Grv6jNhoiNyQ\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> offers its second-floor gallery free of charge on Nov. 17 and 18, no ticket required. The museum’s second floor houses its \u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a>, which features painting and sculpture by renowned artists like Frida Kahlo, Marcel Duchamp, Diego Rivera, Mark Rothko, Frank Stella and more. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows are also free.\u003c/p>\n\u003ch2>Asian Art Museum\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nThe Asian Art Museum is free today, Nov. 16, through Nov. 18. Its offerings include the vibrant contemporary exhibit \u003ca href=\"http://www.asianart.org/exhibitions/mithila-painting\" target=\"_blank\" rel=\"noopener\">\u003cem>Painting Is My Everything: Art From India’s Mithila Region\u003c/em>\u003c/a>; Haroon Mirza’s nightclub-meets-temple installation \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Night Journey\u003c/em>\u003c/a>; and contemporary Korean artist Kim Heecheon’s \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>Lifting Barbells\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>Museum of the African Diaspora\u003c/h2>\n\u003cp>Smithsonian affiliate MoAD offers free admission today through Nov. 18. The museum’s current offerings include the first West Coast solo show of Eritrean-American abstract painter \u003ca href=\"https://www.moadsf.org/exhibition/ficre-ghebreyesus-city-with-a-river-running-through/\" target=\"_blank\" rel=\"noopener\">Ficre Ghebreyesus\u003c/a>; \u003ca href=\"https://www.moadsf.org/exhibition/second-look-twice/\" target=\"_blank\" rel=\"noopener\">\u003cem>Second Look, Twice\u003c/em>\u003c/a>, a group show featuring renowned artists like Kara Walker and Martin Puryear; emerging Bay Area artist Shushan Tesfuzigta’s solo show, \u003ca href=\"https://www.moadsf.org/exhibition/i-told-you-who-am-i/\" target=\"_blank\" rel=\"noopener\">\u003cem>I Told You Who Am I\u003c/em>\u003c/a>; and the 5/5 collective’s exhibition, \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-5-5-collective/\" target=\"_blank\" rel=\"noopener\">\u003cem>black no(where)\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>deYoung Museum\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nThe deYoung Museum offers its large \u003ca href=\"https://deyoung.famsf.org/collections\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a> for free today through Nov. 18. It features vast arrays of African, Oceanic and North and South American folk art; photography; textile art; and a graphic arts collection with names like Rembrandt and Degas. Its excellent, new Muslim fashion exhibit is open for an additional fee.\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/13845085/escape-the-smoke-these-san-francisco-museums-are-free-this-weekend","authors":["11387"],"categories":["arts_235","arts_70"],"tags":["arts_2250","arts_5983","arts_1210","arts_1118","arts_1987","arts_596","arts_1381"],"featImg":"arts_13844617","label":"arts"},"arts_13829184":{"type":"posts","id":"arts_13829184","meta":{"index":"posts_1591205157","site":"arts","id":"13829184","score":null,"sort":[1523493071000]},"guestAuthors":[],"slug":"next-search-for-new-famsf-director-is-on-after-the-met-poaches-max-hollein","title":"Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein","publishDate":1523493071,"format":"audio","headTitle":"Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=fxHsbkuXNOc]\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"As Max Hollein departs from San Francisco for The Met later this year, the hunt is on for a new director of FAMSF.","status":"publish","parent":0,"modified":1705028102,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":678},"headData":{"title":"Next! Search for New FAMSF Director Is On After The Met Poaches Max Hollein | KQED","description":"As Max Hollein departs from San Francisco for The Met later this year, the hunt is on for a new director of FAMSF.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/04/MyrowFAMSF.mp3","sticky":false,"path":"/arts/13829184/next-search-for-new-famsf-director-is-on-after-the-met-poaches-max-hollein","audioDuration":55000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fxHsbkuXNOc'\n title='//www.youtube.com/embed/fxHsbkuXNOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13829184/next-search-for-new-famsf-director-is-on-after-the-met-poaches-max-hollein","authors":["251"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1210","arts_1209","arts_4487","arts_3042"],"featImg":"arts_13829214","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/Consider-This_3000_V3-copy-scaled-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://ww2.kqed.org/app/uploads/2022/06/forum-logo-900x900tile-1.gif","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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/2022/02/mindshift2021-tile-3000x3000-1-scaled-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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