At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment
The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply
At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic
At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief
Faith Ringgold’s Art Was Never Squashed by the Reality of America
de Young Museum Acquires 42 New Works by Bay Area Artists
Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion
If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art
Judy Chicago (Finally) Gets Her Due in de Young Retrospective
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FM","link":"/"}},"arts_13932034":{"type":"posts","id":"arts_13932034","meta":{"index":"posts_1591205157","site":"arts","id":"13932034","score":null,"sort":[1690400141000]},"guestAuthors":[],"slug":"crafting-radicality-de-young-review","title":"At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment","publishDate":1690400141,"format":"standard","headTitle":"At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The show’s title is a bit misleading. \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/crafting-radicality-bay-area-artists\">Crafting Radicality: Bay Area Artists from the Svane Gift\u003c/a>\u003c/i>, which opened at the de Young on July 22, sounds like an exhibition centered on “radical” craft practices. But if you’re picturing experimental basket weaving or guerrilla crochet, Gallery 16 of the museum’s first floor (formerly home to Cornelia Parker’s \u003ci>\u003ca href=\"https://www.famsf.org/artworks/anti-mass\">Anti-Mass\u003c/a>\u003c/i> installation) delivers a different kind of “craft.”\u003c/p>\n\u003cp>The artwork on view, 15 pieces from 12 Bay Area artists, all came to the museum in the same way: the \u003ca href=\"https://www.kqed.org/arts/13915921/de-young-museum-acquires-42-new-works-by-bay-area-artists\">titular Svane Gift\u003c/a>, a 2022 acquisition of 42 artworks from 30 local artists. \u003ci>Crafting Radicality\u003c/i> is the first of three planned exhibitions sourced from that gift, this one curated by Janna Keegan, assistant curator of contemporary art and programming, and \u003ca href=\"https://www.kqed.org/arts/13903617/bay-area-artist-hannah-waiters-profile\">Hannah Waiters\u003c/a>, the museum’s curatorial collections fellow. \u003c/p>\n\u003cp>The generality of the show’s organizing principle is actually what makes it more exciting than it sounds: it’s a snapshot of work made within the constraints of Bay Area life and in response to this place’s particular blend of ideals, difficulties and art historical precedents.\u003c/p>\n\u003cfigure id=\"attachment_13932047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sydney-Cain_1920.jpg\" alt=\"Square work on panel with dark figures foregrounded by a heron and figure draped in a quilt\" width=\"1920\" height=\"1915\" class=\"size-full wp-image-13932047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-1020x1017.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-768x766.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-1536x1532.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Cain, ‘The Child Opens Its Eyes to the Earth,’ 2022; Acrylic, iron oxide, steel, charcoal, graphite on wood; 96 x 96 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco; Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also, it’s just a really good-looking group show.\u003c/p>\n\u003cp>[aside postID='arts_13915921']\u003c/p>\n\u003cp>Angela Hennessy’s \u003ci>Body for a Black Moon\u003c/i> is the central axis around which the rest of the show spins out — a six-foot-plus sculpture draped in synthetic and human hair (including the artist’s own hair), an elegant corporeal presence in the space. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sydney Cain’s large multimedia work on wood panel operates on a similar spectrum, with materials like iron oxide, steel, charcoal and graphite gracefully detailing an ethereal group of figures. Beside it, Liz Hernández’s painting, in slight relief, shows a woman adorning her body with gold-leaf eye symbols, a handwritten message arcing over her head. We know, looking at Hennessy, Cain and Hernández’s work that these are just individual examples of a much larger personal lexicon; their meticulous, repeated labor results in refreshingly distinct styles.\u003c/p>\n\u003cp>Across the gallery, Sadie Barnette’s \u003ci>FBI Drawings, Legal Ritual\u003c/i> takes her father’s FBI file and renders it overwhelmingly large across five framed works on paper. At this scale, the government’s intrusive, malign surveillance is blatant. And yet the monumental drawings are also impishly delicate: made with crisp powdered graphite that shimmers on close inspection, Barnette’s interventions stamp roses and Hello Kittys across the official documents, reclaiming them decades after the damage they inflicted. \u003c/p>\n\u003cfigure id=\"attachment_13932046\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Koak_1920.jpg\" alt=\"\" width=\"1920\" height=\"2373\" class=\"size-full wp-image-13932046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1657x2048.jpg 1657w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Koak, ‘June,’ 2021; Acrylic, chalk, graphite, charcoal, Flashe, and pastel on canvas, 77.5 x 62 in. \u003ccite>(Courtesy of Altman Siegel Gallery, San Francisco; Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s most intense color comes from Koak’s \u003ci>June\u003c/i>, a vertical canvas over six feet tall that features a glowing orange woman cradling a baby in her arms. The scene evokes both the tight domesticity of the pandemic (a face mask’s elastic band drapes over a dresser’s edge) and the apocalyptic environmental events that shape this region (her skin tone is distinctly akin to that orange sky day in 2020).\u003c/p>\n\u003cp>Contributions from Demetri Broxton, Woody De Othello (with a giant bronze fountain in the museum’s sculpture garden), Kota Ezawa, David Huffman, Rashaad Newsome, Ramekon O’Arwisters and Muzae Sesay bring intricate beading, watercolors, a ceiling-high work on paper and even more examples of the incredibly varied practices that make up the Bay Area’s many arts scenes.\u003c/p>\n\u003cp>It’s always difficult to contextualize the present moment. Are we witnessing nascent art movements, shifts in material approaches, future chapters of textbooks? I leave those questions to the historians. The thrilling part of this acquisition — and this show, by extension — is that these artists are making their work here and now, and visitors to the de Young will have even more opportunities to seek them out, wherever their careers may lead them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/crafting-radicality-bay-area-artists\">Crafting Radicality: Bay Area Artists from the Svane Gift\u003c/a>’ is on view at the de Young museum through Dec. 31, 2023.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The group show, pulled from an acquisition of work by Bay Area artists, attests to the vibrancy of the region’s many art scenes.","status":"publish","parent":0,"modified":1705005232,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":764},"headData":{"title":"‘Crafting Radicality’ Review: A Snapshot of Local Artistic Energy | KQED","description":"The group show, pulled from an acquisition of work by Bay Area artists, attests to the vibrancy of the region’s many art scenes.","ogTitle":"At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment","ogDescription":"","ogImgId":"","twTitle":"At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment","twDescription":"","twImgId":"","socialTitle":"‘Crafting Radicality’ Review: A Snapshot of Local Artistic Energy %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the de Young, ‘Crafting Radicality’ Captures the Energy of a Local Moment","datePublished":"2023-07-26T19:35:41.000Z","dateModified":"2024-01-11T20:33:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932034/crafting-radicality-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The show’s title is a bit misleading. \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/crafting-radicality-bay-area-artists\">Crafting Radicality: Bay Area Artists from the Svane Gift\u003c/a>\u003c/i>, which opened at the de Young on July 22, sounds like an exhibition centered on “radical” craft practices. But if you’re picturing experimental basket weaving or guerrilla crochet, Gallery 16 of the museum’s first floor (formerly home to Cornelia Parker’s \u003ci>\u003ca href=\"https://www.famsf.org/artworks/anti-mass\">Anti-Mass\u003c/a>\u003c/i> installation) delivers a different kind of “craft.”\u003c/p>\n\u003cp>The artwork on view, 15 pieces from 12 Bay Area artists, all came to the museum in the same way: the \u003ca href=\"https://www.kqed.org/arts/13915921/de-young-museum-acquires-42-new-works-by-bay-area-artists\">titular Svane Gift\u003c/a>, a 2022 acquisition of 42 artworks from 30 local artists. \u003ci>Crafting Radicality\u003c/i> is the first of three planned exhibitions sourced from that gift, this one curated by Janna Keegan, assistant curator of contemporary art and programming, and \u003ca href=\"https://www.kqed.org/arts/13903617/bay-area-artist-hannah-waiters-profile\">Hannah Waiters\u003c/a>, the museum’s curatorial collections fellow. \u003c/p>\n\u003cp>The generality of the show’s organizing principle is actually what makes it more exciting than it sounds: it’s a snapshot of work made within the constraints of Bay Area life and in response to this place’s particular blend of ideals, difficulties and art historical precedents.\u003c/p>\n\u003cfigure id=\"attachment_13932047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sydney-Cain_1920.jpg\" alt=\"Square work on panel with dark figures foregrounded by a heron and figure draped in a quilt\" width=\"1920\" height=\"1915\" class=\"size-full wp-image-13932047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-1020x1017.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-768x766.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sydney-Cain_1920-1536x1532.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Cain, ‘The Child Opens Its Eyes to the Earth,’ 2022; Acrylic, iron oxide, steel, charcoal, graphite on wood; 96 x 96 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco; Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also, it’s just a really good-looking group show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915921","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Angela Hennessy’s \u003ci>Body for a Black Moon\u003c/i> is the central axis around which the rest of the show spins out — a six-foot-plus sculpture draped in synthetic and human hair (including the artist’s own hair), an elegant corporeal presence in the space. \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>Sydney Cain’s large multimedia work on wood panel operates on a similar spectrum, with materials like iron oxide, steel, charcoal and graphite gracefully detailing an ethereal group of figures. Beside it, Liz Hernández’s painting, in slight relief, shows a woman adorning her body with gold-leaf eye symbols, a handwritten message arcing over her head. We know, looking at Hennessy, Cain and Hernández’s work that these are just individual examples of a much larger personal lexicon; their meticulous, repeated labor results in refreshingly distinct styles.\u003c/p>\n\u003cp>Across the gallery, Sadie Barnette’s \u003ci>FBI Drawings, Legal Ritual\u003c/i> takes her father’s FBI file and renders it overwhelmingly large across five framed works on paper. At this scale, the government’s intrusive, malign surveillance is blatant. And yet the monumental drawings are also impishly delicate: made with crisp powdered graphite that shimmers on close inspection, Barnette’s interventions stamp roses and Hello Kittys across the official documents, reclaiming them decades after the damage they inflicted. \u003c/p>\n\u003cfigure id=\"attachment_13932046\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Koak_1920.jpg\" alt=\"\" width=\"1920\" height=\"2373\" class=\"size-full wp-image-13932046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Koak_1920-1657x2048.jpg 1657w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Koak, ‘June,’ 2021; Acrylic, chalk, graphite, charcoal, Flashe, and pastel on canvas, 77.5 x 62 in. \u003ccite>(Courtesy of Altman Siegel Gallery, San Francisco; Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s most intense color comes from Koak’s \u003ci>June\u003c/i>, a vertical canvas over six feet tall that features a glowing orange woman cradling a baby in her arms. The scene evokes both the tight domesticity of the pandemic (a face mask’s elastic band drapes over a dresser’s edge) and the apocalyptic environmental events that shape this region (her skin tone is distinctly akin to that orange sky day in 2020).\u003c/p>\n\u003cp>Contributions from Demetri Broxton, Woody De Othello (with a giant bronze fountain in the museum’s sculpture garden), Kota Ezawa, David Huffman, Rashaad Newsome, Ramekon O’Arwisters and Muzae Sesay bring intricate beading, watercolors, a ceiling-high work on paper and even more examples of the incredibly varied practices that make up the Bay Area’s many arts scenes.\u003c/p>\n\u003cp>It’s always difficult to contextualize the present moment. Are we witnessing nascent art movements, shifts in material approaches, future chapters of textbooks? I leave those questions to the historians. The thrilling part of this acquisition — and this show, by extension — is that these artists are making their work here and now, and visitors to the de Young will have even more opportunities to seek them out, wherever their careers may lead them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/crafting-radicality-bay-area-artists\">Crafting Radicality: Bay Area Artists from the Svane Gift\u003c/a>’ is on view at the de Young museum through Dec. 31, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932034/crafting-radicality-de-young-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2504","arts_585","arts_901"],"featImg":"arts_13932040","label":"arts_140"},"arts_13930085":{"type":"posts","id":"arts_13930085","meta":{"index":"posts_1591205157","site":"arts","id":"13930085","score":null,"sort":[1686007640000]},"guestAuthors":[],"slug":"2023-de-young-open-how-to-apply","title":"The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply","publishDate":1686007640,"format":"standard","headTitle":"The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In June 2020, artists of the nine Bay Area counties were invited to submit images of their work to a novel, somewhat radical experiment on the part of the Fine Arts Museums of San Francisco. Over 11,000 artworks later, a jury of local artists and museum curators unveiled the \u003ci>The de Young Open\u003c/i>, an exhibition of 877 pieces arranged salon-style in the museum’s lower-level exhibition spaces. It was a joyous explosion of local art at a time (October 2020) when we desperately needed beauty, color and ways to express the pent-up emotions of our pent-up pandemic lives.\u003c/p>\n\u003cp>[aside postID='arts_13929082']Now, the museum is at it again, and \u003ci>\u003ca href=\"https://deyoungopen2023.artcall.org/\">The de Young Open\u003c/a>\u003c/i> is officially a triennial, scheduled to open Sept. 30, 2023. What started as a way to acknowledge local talent and fill space when traveling exhibitions came to a halt now seems on its way to becoming a beloved Bay Area institution.\u003c/p>\n\u003cp>If you’re artistically inclined, there are plenty of reasons to throw your hat in the ring! Pros: it’s free; you get to have your work seen by a team of eight curators representing subject areas across the institution; sales result in 100% of the proceeds going to the artists; and you could end up with a museum show at the de Young on your CV. Cons: I truly can’t think of any!\u003c/p>\n\u003cp>While the de Young curators will take the first pass, Bay Area artists Clare Rojas, Stephanie Syjuco, Sunny A. Smith and Xiaoze Xie will make the final selections for the exhibition.\u003c/p>\n\u003cp>Before you \u003ca href=\"https://deyoungopen2023.artcall.org/\">click through to start your application\u003c/a>, here are the most important things to know:\u003c/p>\n\u003cul>\n\u003cli>The application is open June 5–18, or until they reach 12,000 applicants, whichever comes first. So don’t delay! The museum expects to hit 3,000 applications by the end of today.\u003c/li>\n\u003cli>You can submit \u003cstrong>one artwork only\u003c/strong>. (This is a change from 2020, meant to allow more artists to enter.)\u003c/li>\n\u003cli>Artists must be over 18 and full-time residents of one of the nine Bay Area counties. (You will be asked to present ID at the artwork drop-off, don’t fudge this one.)\u003c/li>\n\u003cli>Your work will be juried completely anonymously, so if you’re submitting a video piece, make sure your name isn’t anywhere in the video, or you’ll be automatically disqualified.\u003c/li>\n\u003cli>There are very specific (but generous) size and medium limitations. \u003ca href=\"https://deyoungopen2023.artcall.org/pages/submission-guidelines\">Follow these rules\u003c/a>! In fact, this is one instance where I encourage you to follow all the rules. Especially the ones about optimal JPG size.\u003c/li>\n\u003cli>Once you start your application, you have \u003cb>one hour\u003c/b> to hit submit, otherwise you’ll be timed out and lose your work. Since one section asks for an “artist statement” (700 characters maximum) that will accompany the work online if included in the show, I suggest gathering your application materials — artwork title, dimensions, medium, artist statement, hanging/installation instructions — in one place, then copying and pasting them into the application. (You can also edit your application until the open call ends.)\u003c/li>\n\u003c/ul>\n\u003cp>For all the fine print, read the \u003ca href=\"https://deyoungopen2023.artcall.org/pages/submission-guidelines\">full submission guidelines\u003c/a> and watch some \u003ca href=\"https://deyoungopen2023.artcall.org/pages/faqs-and-how-to-videos\">delightfully informative “how to” videos\u003c/a> on the museum’s \u003ca href=\"https://deyoungopen2023.artcall.org/\">application portal\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first massive show in 2020 offered direct proof of the copious artistic talent that calls the Bay Area home. I can’t wait to see what discoveries emerge from the 2023 \u003ci>Open\u003c/i>.\u003c/p>\n\n","blocks":[],"excerpt":"Are you an artistically inclined Bay Area resident? Throw your hat in the ring for a chance to be in a museum show!","status":"publish","parent":0,"modified":1705005416,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":593},"headData":{"title":"How to apply for the 2023 ‘de Young Open’ | KQED","description":"Are you an artistically inclined Bay Area resident? Throw your hat in the ring for a chance to be in a museum show!","ogTitle":"The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply","ogDescription":"","ogImgId":"","twTitle":"The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply","twDescription":"","twImgId":"","socialTitle":"How to apply for the 2023 ‘de Young Open’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 2023 ‘de Young Open’ is Open for Submissions! Here’s How to Apply","datePublished":"2023-06-05T23:27:20.000Z","dateModified":"2024-01-11T20:36:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930085/2023-de-young-open-how-to-apply","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June 2020, artists of the nine Bay Area counties were invited to submit images of their work to a novel, somewhat radical experiment on the part of the Fine Arts Museums of San Francisco. Over 11,000 artworks later, a jury of local artists and museum curators unveiled the \u003ci>The de Young Open\u003c/i>, an exhibition of 877 pieces arranged salon-style in the museum’s lower-level exhibition spaces. It was a joyous explosion of local art at a time (October 2020) when we desperately needed beauty, color and ways to express the pent-up emotions of our pent-up pandemic lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929082","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Now, the museum is at it again, and \u003ci>\u003ca href=\"https://deyoungopen2023.artcall.org/\">The de Young Open\u003c/a>\u003c/i> is officially a triennial, scheduled to open Sept. 30, 2023. What started as a way to acknowledge local talent and fill space when traveling exhibitions came to a halt now seems on its way to becoming a beloved Bay Area institution.\u003c/p>\n\u003cp>If you’re artistically inclined, there are plenty of reasons to throw your hat in the ring! Pros: it’s free; you get to have your work seen by a team of eight curators representing subject areas across the institution; sales result in 100% of the proceeds going to the artists; and you could end up with a museum show at the de Young on your CV. Cons: I truly can’t think of any!\u003c/p>\n\u003cp>While the de Young curators will take the first pass, Bay Area artists Clare Rojas, Stephanie Syjuco, Sunny A. Smith and Xiaoze Xie will make the final selections for the exhibition.\u003c/p>\n\u003cp>Before you \u003ca href=\"https://deyoungopen2023.artcall.org/\">click through to start your application\u003c/a>, here are the most important things to know:\u003c/p>\n\u003cul>\n\u003cli>The application is open June 5–18, or until they reach 12,000 applicants, whichever comes first. So don’t delay! The museum expects to hit 3,000 applications by the end of today.\u003c/li>\n\u003cli>You can submit \u003cstrong>one artwork only\u003c/strong>. (This is a change from 2020, meant to allow more artists to enter.)\u003c/li>\n\u003cli>Artists must be over 18 and full-time residents of one of the nine Bay Area counties. (You will be asked to present ID at the artwork drop-off, don’t fudge this one.)\u003c/li>\n\u003cli>Your work will be juried completely anonymously, so if you’re submitting a video piece, make sure your name isn’t anywhere in the video, or you’ll be automatically disqualified.\u003c/li>\n\u003cli>There are very specific (but generous) size and medium limitations. \u003ca href=\"https://deyoungopen2023.artcall.org/pages/submission-guidelines\">Follow these rules\u003c/a>! In fact, this is one instance where I encourage you to follow all the rules. Especially the ones about optimal JPG size.\u003c/li>\n\u003cli>Once you start your application, you have \u003cb>one hour\u003c/b> to hit submit, otherwise you’ll be timed out and lose your work. Since one section asks for an “artist statement” (700 characters maximum) that will accompany the work online if included in the show, I suggest gathering your application materials — artwork title, dimensions, medium, artist statement, hanging/installation instructions — in one place, then copying and pasting them into the application. (You can also edit your application until the open call ends.)\u003c/li>\n\u003c/ul>\n\u003cp>For all the fine print, read the \u003ca href=\"https://deyoungopen2023.artcall.org/pages/submission-guidelines\">full submission guidelines\u003c/a> and watch some \u003ca href=\"https://deyoungopen2023.artcall.org/pages/faqs-and-how-to-videos\">delightfully informative “how to” videos\u003c/a> on the museum’s \u003ca href=\"https://deyoungopen2023.artcall.org/\">application portal\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first massive show in 2020 offered direct proof of the copious artistic talent that calls the Bay Area home. I can’t wait to see what discoveries emerge from the 2023 \u003ci>Open\u003c/i>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930085/2023-de-young-open-how-to-apply","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_2504","arts_10278","arts_1006"],"featImg":"arts_13930088","label":"arts"},"arts_13928843":{"type":"posts","id":"arts_13928843","meta":{"index":"posts_1591205157","site":"arts","id":"13928843","score":null,"sort":[1684166443000]},"guestAuthors":[],"slug":"ansel-adams-in-our-time-de-young-review","title":"At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic","publishDate":1684166443,"format":"standard","headTitle":"At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For many people, the images they hold in their minds of Yosemite or other Western U.S. landscapes probably overlap quite a bit with photographs by San Francisco–born photographer Ansel Adams (1902–1984). As one of the most prominent artists in the history of photography, and certainly within landscape photography, Adams’ work has both circulated widely around the world and influenced how generations of photographers have represented land. As an active member of the Sierra Club, Adams and his photography have also been linked closely with environmental and conservationist movements.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Ansel Adams in Our Time\u003c/a>\u003c/i>, a major exhibition at the de Young Museum, takes a look at Adams’ extensive career, but the exhibition also resists canonization or the impulse to depict Adams as a unique genius. In fact, while the exhibition is not overly critical of Adams, it creates the space to examine his art, and its relationship to environmentalism, with nuance and art historical context.\u003c/p>\n\u003cp>[aside postID='arts_11149633']Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The show examines Adams’ photography and its relationship to environmentalism with nuance and art historical context.\r\n","status":"publish","parent":0,"modified":1705005500,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":950},"headData":{"title":"‘Ansel Adams in Our Time’ Review: A Look Beyond the Iconic | KQED","description":"The show examines Adams’ photography and its relationship to environmentalism with nuance and art historical context.\r\n","ogTitle":"At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic","ogDescription":"","ogImgId":"","twTitle":"At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic","twDescription":"","twImgId":"","socialTitle":"‘Ansel Adams in Our Time’ Review: A Look Beyond the Iconic %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic","datePublished":"2023-05-15T16:00:43.000Z","dateModified":"2024-01-11T20:38:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928843/ansel-adams-in-our-time-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many people, the images they hold in their minds of Yosemite or other Western U.S. landscapes probably overlap quite a bit with photographs by San Francisco–born photographer Ansel Adams (1902–1984). As one of the most prominent artists in the history of photography, and certainly within landscape photography, Adams’ work has both circulated widely around the world and influenced how generations of photographers have represented land. As an active member of the Sierra Club, Adams and his photography have also been linked closely with environmental and conservationist movements.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Ansel Adams in Our Time\u003c/a>\u003c/i>, a major exhibition at the de Young Museum, takes a look at Adams’ extensive career, but the exhibition also resists canonization or the impulse to depict Adams as a unique genius. In fact, while the exhibition is not overly critical of Adams, it creates the space to examine his art, and its relationship to environmentalism, with nuance and art historical context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11149633","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\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>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928843/ansel-adams-in-our-time-de-young-review","authors":["187"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2504","arts_10278","arts_822","arts_769","arts_585"],"featImg":"arts_13928864","label":"arts_140"},"arts_13926546":{"type":"posts","id":"arts_13926546","meta":{"index":"posts_1591205157","site":"arts","id":"13926546","score":null,"sort":[1679414439000]},"guestAuthors":[],"slug":"kehinde-wiley-archaeology-of-silence-de-young-review","title":"At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief","publishDate":1679414439,"format":"standard","headTitle":"At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I did not watch the video of Tyre Nichols being tortured and killed by police officers in Memphis, Tennessee on Jan. 7. For my own self care, I have not watched an eye-witness or body-cam video of a Black person being killed by police or vigilantes since Philando Castile’s girlfriend, Diamond Reynolds, filmed the aftermath of a police officer shooting and killing Castile in 2016. Still, I never avoid or ignore the reality of what happened, or the details of how Black people’s lives are regularly stolen.\u003c/p>\n\u003cp>Neither does artist \u003ca href=\"https://kehindewiley.com/\">Kehinde Wiley\u003c/a>, whose new exhibition \u003cem>\u003ca href=\"https://www.famsf.org/exhibitions/kehinde-wiley-an-archaeology-of-silence\">An Archaeology of Silence\u003c/a>\u003c/em> tells the story of the Black lives we, as a society, have lost – and continue to lose – to racist, systemic violence both nationally and globally. The 25-piece collection of oil paintings and bronze sculptures, making its U.S. debut, is on view at San Francisco’s de Young Museum through Oct. 15.\u003c/p>\n\u003cp>Wiley employs his signature technique of \u003ca href=\"https://kehindewiley.com/works/rumors-of-war/\">placing modern, Black subjects into historical scenes\u003c/a> from Western European art iconography, but this time his subjects aren’t standing tall in triumph – rather, they are in various forms of repose, referencing works of fallen soldiers and warriors. Some of the Black men and women depicted in the works are weary, the subjects’ eyes open and staring at you. Some are wounded. Many are dead.\u003c/p>\n\u003cfigure id=\"attachment_13926555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mane%CC%81_2022_KW-22.016_1_1920.jpg\" alt=\"Dramatically lit sculpture resembling a tomb, with figure laying inside\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kehinde Wiley, ‘The Body of the Dead Christ in the Tomb (Babacar Mané),’ 2021. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Followers of Wiley’s work will recognize similarities to his 2008 series \u003cem>\u003ca href=\"https://kehindewiley.com/works/down/\">Down\u003c/a>\u003c/em>. When he made those pieces, we, as a culture, did not yet know Oscar Grant’s name, or Trayvon Martin’s. While the works in \u003cem>An Archaeology of Silence\u003c/em> were all created and completed over the last three years, inspired by the \u003ca href=\"https://www.npr.org/2020/05/29/865261916/a-decade-of-watching-black-people-die\">long list of names\u003c/a> we now know, Wiley revisited some of his old source material from \u003cem>Down\u003c/em> in preparing this exhibition.\u003c/p>\n\u003cp>“Really this body of work is a coming together of, quite possibly, my entire career,” he said at the press preview, “allowing different movements to become galvanized in one epic body of work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a technical level, the exhibition is a stunning display of size and breadth. Three of the show’s pieces, including the title work – a 17.5-foot-tall bronze statue of a slain Black man draped over the saddle of a horse – are the largest the museum has ever installed.\u003c/p>\n\u003cp>On an emotional level, it is stirring. Feelings of grief sit alongside awe. The intricate details of each subject’s life are crafted into every piece – the sneakers and jewelry they wore, the way their hair was styled. These are “monuments” in reverence to those lost, as Claudia Schmuckli, the museum’s curator-in-charge of contemporary art, writes in her curatorial statement.\u003c/p>\n\u003cfigure id=\"attachment_13926554\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_Femme-Pique%CC%81e-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920.jpg\" alt=\"\" width=\"1920\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-1536x711.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kehinde Wiley, ‘Femme piquée par un serpent (Mamadou Gueye),’ 2022. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the press preview, Wiley walked and talked us through the exhibition, and at first my ears were more attuned than my eyes. But toward the end of Wiley’s tour, I peeled off from the scrum surrounding him to retrace my steps through the gallery and see each piece anew. When I reached a bronze sculpture of two slain young Black men titled \u003cem>Death of Two Soldiers\u003c/em>, I took in the two bodies lying side by side.\u003c/p>\n\u003cp>There, the exhibition as a whole hit me. And I felt anger. I felt angry that this exhibition had cause to exist. That, in the most reductive description of the show, I was walking around and observing Black death on public display. Again.\u003c/p>\n\u003cp>The museum’s team prepared for this kind of visceral, emotional reaction. Not only does the exhibition offer a “Respite Room” attached to the show, but the de Young will roll out a slate of public programming around grief and mourning on select \u003ca href=\"https://www.famsf.org/events/free-saturdays-de-young\">free-admission Saturdays\u003c/a>. Abram Jackson, the museum’s inaugural director of interpretation, co-led that work alongside Devin Malone, director of public programs.\u003c/p>\n\u003cp>“I heard word from folks who visited the exhibition at the Venice Biennale that they heard folks crying in the galleries because it was such an impactful exhibition,” Jackson said. “And I knew that if we were going to be the first museum to host it in the United States, that we had to situate it locally and that we had to really protect our visitors who are so closely connected to systemic violence.”\u003c/p>\n\u003cp>The Respite Room offers a place to sit and reflect, along with a small library of books to peruse with titles like \u003cem>Rest is Resistance\u003c/em> by Tricia Hersey and \u003cem>Emergent Strategy: Shaping Change, Changing Worlds\u003c/em> by adrienne maree brown, as well as poetry collections of Audre Lorde, Lucille Clifton and Gwendolyn Brooks.\u003c/p>\n\u003cfigure id=\"attachment_13926558\" class=\"wp-caption aligncenter\" style=\"max-width: 1508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1.jpg\" alt=\"A Black woman leans on a white draped surface surrounded by white blossoms\" width=\"1508\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1.jpg 1508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-768x520.jpg 768w\" sizes=\"(max-width: 1508px) 100vw, 1508px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kehinde Wiley: An Archeology of Silence’, de Young Museum, San Francisco, 2023. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve really been thinking about what it means for an institution – museums, specifically – to think about spatial justice. What it means to relinquish space to the public and repurpose institutional space so that it can be used rather than simply visited,” said Malone, who designed the Respite Room.\u003c/p>\n\u003cp>In addition to the Respite Room, the museum worked with a group of seven “Interpretation Partners” Jackson recruited to inform the show’s presentation – including advising on the language used in the exhibition guide and art descriptions. Partners include local Black community leaders, such as the \u003ca href=\"https://www.wandajohnsonspeaks.com/about\">Rev. Wanda Johnson\u003c/a>, mother of \u003ca href=\"https://www.kqed.org/oscar-grant\">Oscar Grant\u003c/a> and CEO of the Oscar Grant Foundation, and Hodari Davis, co-founder of the \u003ca href=\"https://lifeisliving.youthspeaks.org/about/\">Life is Living Festival\u003c/a>.\u003c/p>\n\u003cp>Jackson recalled one of the meetings with the partners where they dissected the show’s curatorial language. “A lot of the original language had ‘state-sanctioned violence’ written and that seemed to conjure for most people, police brutality,” Jackson said. “And the partners were like, ‘Well, we really need to broaden this because this is about systemic violence. This is about the school to prison pipeline. This is about environmental racism. This is about infant mortality for Black babies and how Black mothers are treated in the medical industrial complex.’”\u003c/p>\n\u003cp>The lens of Black Bay Area leaders and activists, coupled with the Bay’s long history of freedom movement building, provide a fitting first U.S. home for \u003cem>An Archaeology of Silence\u003c/em>. That, and Wiley’s personal history in the region.\u003c/p>\n\u003cp>“I think San Francisco is the perfect place for this work to come, because it really is a homecoming for me. This is where I developed my chops as a young artist,” said Wiley, who graduated from the (\u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">now-closed\u003c/a>) San Francisco Art Institute in 1999. And he sees parallels between his own development as an artist and the development of the country’s social justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13926557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920.jpg\" alt=\"Dark gallery with brightly lit painting of prone Black woman on back wall, large brass sculpture of prone man in foreground\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kehinde Wiley: An Archeology of Silence’, de Young Museum, San Francisco, 2023. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco; Photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a coming of age for me, but it’s arguable that [the Bay Area]’s a coming of age for America,” Wiley said. “This part of the world was at the core of the cultural revolution that America was so heavily marked by in the end of the ’50s and the core of the ’60s. … [The Bay Area] became the site of resistance for people of color, for the marginalized, for the queer.”\u003c/p>\n\u003cp>It’s this type of resistance that Wiley embeds within the exhibition, amidst all the imagery of death. In one of the mural-sized paintings, a woman lays lifeless on a grassy knoll against a backdrop of mostly brown, dead leaves – a distinct departure from the colorful foliage that typically surrounds Wiley’s subjects. Yet a smattering of vibrant, living flowers and vines grow and persist around her fallen figure.\u003c/p>\n\u003cp>“There’s a stubborn holding on to life and celebration in the midst of all of this suffering,” Wiley said. “I wanted to be able to use one of these moments – one of these dark moments in our cultural atmosphere – to talk about something that’s sure, a little bit of a downer, but also defiantly present, defiantly alive and imbibed with a type of resilience and virtue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Kehinde Wiley: An Archaeology of Silence’ is on view at the de Young Museum in San Francisco through Oct. 15. Details on the exhibition and associated programming are \u003ca href=\"https://www.famsf.org/exhibitions/kehinde-wiley-an-archaeology-of-silence\">here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"For ‘An Archaeology of Silence,’ the museum consulted with Black community leaders to shape the show’s language and layout.","status":"publish","parent":0,"modified":1705005720,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1531},"headData":{"title":"Kehinde Wiley at de Young: An Epic Elegy Creates Space for Grief | KQED","description":"For ‘An Archaeology of Silence,’ the museum consulted with Black community leaders to shape the show’s language and layout.","ogTitle":"At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief","ogDescription":"","ogImgId":"","twTitle":"At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief","twDescription":"","twImgId":"","socialTitle":"Kehinde Wiley at de Young: An Epic Elegy Creates Space for Grief %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the de Young, Kehinde Wiley’s Epic Elegy for Black Lives Also Creates Space for Grief","datePublished":"2023-03-21T16:00:39.000Z","dateModified":"2024-01-11T20:42:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/185d4acc-1645-4f57-888b-afcd011cec9c/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926546/kehinde-wiley-archaeology-of-silence-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I did not watch the video of Tyre Nichols being tortured and killed by police officers in Memphis, Tennessee on Jan. 7. For my own self care, I have not watched an eye-witness or body-cam video of a Black person being killed by police or vigilantes since Philando Castile’s girlfriend, Diamond Reynolds, filmed the aftermath of a police officer shooting and killing Castile in 2016. Still, I never avoid or ignore the reality of what happened, or the details of how Black people’s lives are regularly stolen.\u003c/p>\n\u003cp>Neither does artist \u003ca href=\"https://kehindewiley.com/\">Kehinde Wiley\u003c/a>, whose new exhibition \u003cem>\u003ca href=\"https://www.famsf.org/exhibitions/kehinde-wiley-an-archaeology-of-silence\">An Archaeology of Silence\u003c/a>\u003c/em> tells the story of the Black lives we, as a society, have lost – and continue to lose – to racist, systemic violence both nationally and globally. The 25-piece collection of oil paintings and bronze sculptures, making its U.S. debut, is on view at San Francisco’s de Young Museum through Oct. 15.\u003c/p>\n\u003cp>Wiley employs his signature technique of \u003ca href=\"https://kehindewiley.com/works/rumors-of-war/\">placing modern, Black subjects into historical scenes\u003c/a> from Western European art iconography, but this time his subjects aren’t standing tall in triumph – rather, they are in various forms of repose, referencing works of fallen soldiers and warriors. Some of the Black men and women depicted in the works are weary, the subjects’ eyes open and staring at you. Some are wounded. Many are dead.\u003c/p>\n\u003cfigure id=\"attachment_13926555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mane%CC%81_2022_KW-22.016_1_1920.jpg\" alt=\"Dramatically lit sculpture resembling a tomb, with figure laying inside\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_The-Body-of-the-Dead-Christ-in-the-Tomb-Babacar-Mané_2022_KW-22.016_1_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kehinde Wiley, ‘The Body of the Dead Christ in the Tomb (Babacar Mané),’ 2021. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Followers of Wiley’s work will recognize similarities to his 2008 series \u003cem>\u003ca href=\"https://kehindewiley.com/works/down/\">Down\u003c/a>\u003c/em>. When he made those pieces, we, as a culture, did not yet know Oscar Grant’s name, or Trayvon Martin’s. While the works in \u003cem>An Archaeology of Silence\u003c/em> were all created and completed over the last three years, inspired by the \u003ca href=\"https://www.npr.org/2020/05/29/865261916/a-decade-of-watching-black-people-die\">long list of names\u003c/a> we now know, Wiley revisited some of his old source material from \u003cem>Down\u003c/em> in preparing this exhibition.\u003c/p>\n\u003cp>“Really this body of work is a coming together of, quite possibly, my entire career,” he said at the press preview, “allowing different movements to become galvanized in one epic body of work.”\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>On a technical level, the exhibition is a stunning display of size and breadth. Three of the show’s pieces, including the title work – a 17.5-foot-tall bronze statue of a slain Black man draped over the saddle of a horse – are the largest the museum has ever installed.\u003c/p>\n\u003cp>On an emotional level, it is stirring. Feelings of grief sit alongside awe. The intricate details of each subject’s life are crafted into every piece – the sneakers and jewelry they wore, the way their hair was styled. These are “monuments” in reverence to those lost, as Claudia Schmuckli, the museum’s curator-in-charge of contemporary art, writes in her curatorial statement.\u003c/p>\n\u003cfigure id=\"attachment_13926554\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_Femme-Pique%CC%81e-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920.jpg\" alt=\"\" width=\"1920\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Femme-Piquée-Par-Un-Serpent-Mamadou-Gueye_2022_KW-22.018_1_1920-1536x711.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kehinde Wiley, ‘Femme piquée par un serpent (Mamadou Gueye),’ 2022. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the press preview, Wiley walked and talked us through the exhibition, and at first my ears were more attuned than my eyes. But toward the end of Wiley’s tour, I peeled off from the scrum surrounding him to retrace my steps through the gallery and see each piece anew. When I reached a bronze sculpture of two slain young Black men titled \u003cem>Death of Two Soldiers\u003c/em>, I took in the two bodies lying side by side.\u003c/p>\n\u003cp>There, the exhibition as a whole hit me. And I felt anger. I felt angry that this exhibition had cause to exist. That, in the most reductive description of the show, I was walking around and observing Black death on public display. Again.\u003c/p>\n\u003cp>The museum’s team prepared for this kind of visceral, emotional reaction. Not only does the exhibition offer a “Respite Room” attached to the show, but the de Young will roll out a slate of public programming around grief and mourning on select \u003ca href=\"https://www.famsf.org/events/free-saturdays-de-young\">free-admission Saturdays\u003c/a>. Abram Jackson, the museum’s inaugural director of interpretation, co-led that work alongside Devin Malone, director of public programs.\u003c/p>\n\u003cp>“I heard word from folks who visited the exhibition at the Venice Biennale that they heard folks crying in the galleries because it was such an impactful exhibition,” Jackson said. “And I knew that if we were going to be the first museum to host it in the United States, that we had to situate it locally and that we had to really protect our visitors who are so closely connected to systemic violence.”\u003c/p>\n\u003cp>The Respite Room offers a place to sit and reflect, along with a small library of books to peruse with titles like \u003cem>Rest is Resistance\u003c/em> by Tricia Hersey and \u003cem>Emergent Strategy: Shaping Change, Changing Worlds\u003c/em> by adrienne maree brown, as well as poetry collections of Audre Lorde, Lucille Clifton and Gwendolyn Brooks.\u003c/p>\n\u003cfigure id=\"attachment_13926558\" class=\"wp-caption aligncenter\" style=\"max-width: 1508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1.jpg\" alt=\"A Black woman leans on a white draped surface surrounded by white blossoms\" width=\"1508\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1.jpg 1508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WILEY_Morpheus-Ndeye-Fatou-Mbaye_2022_KW-22.022_1-768x520.jpg 768w\" sizes=\"(max-width: 1508px) 100vw, 1508px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kehinde Wiley: An Archeology of Silence’, de Young Museum, San Francisco, 2023. \u003ccite>(Courtesy of the artist and Templon, Paris – Brussels – New York; Photo by Ugo Carmeni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve really been thinking about what it means for an institution – museums, specifically – to think about spatial justice. What it means to relinquish space to the public and repurpose institutional space so that it can be used rather than simply visited,” said Malone, who designed the Respite Room.\u003c/p>\n\u003cp>In addition to the Respite Room, the museum worked with a group of seven “Interpretation Partners” Jackson recruited to inform the show’s presentation – including advising on the language used in the exhibition guide and art descriptions. Partners include local Black community leaders, such as the \u003ca href=\"https://www.wandajohnsonspeaks.com/about\">Rev. Wanda Johnson\u003c/a>, mother of \u003ca href=\"https://www.kqed.org/oscar-grant\">Oscar Grant\u003c/a> and CEO of the Oscar Grant Foundation, and Hodari Davis, co-founder of the \u003ca href=\"https://lifeisliving.youthspeaks.org/about/\">Life is Living Festival\u003c/a>.\u003c/p>\n\u003cp>Jackson recalled one of the meetings with the partners where they dissected the show’s curatorial language. “A lot of the original language had ‘state-sanctioned violence’ written and that seemed to conjure for most people, police brutality,” Jackson said. “And the partners were like, ‘Well, we really need to broaden this because this is about systemic violence. This is about the school to prison pipeline. This is about environmental racism. This is about infant mortality for Black babies and how Black mothers are treated in the medical industrial complex.’”\u003c/p>\n\u003cp>The lens of Black Bay Area leaders and activists, coupled with the Bay’s long history of freedom movement building, provide a fitting first U.S. home for \u003cem>An Archaeology of Silence\u003c/em>. That, and Wiley’s personal history in the region.\u003c/p>\n\u003cp>“I think San Francisco is the perfect place for this work to come, because it really is a homecoming for me. This is where I developed my chops as a young artist,” said Wiley, who graduated from the (\u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">now-closed\u003c/a>) San Francisco Art Institute in 1999. And he sees parallels between his own development as an artist and the development of the country’s social justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13926557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920.jpg\" alt=\"Dark gallery with brightly lit painting of prone Black woman on back wall, large brass sculpture of prone man in foreground\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/0069_deYoung_KehindeWiley_GarySexton_1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kehinde Wiley: An Archeology of Silence’, de Young Museum, San Francisco, 2023. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco; Photo by Gary Sexton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a coming of age for me, but it’s arguable that [the Bay Area]’s a coming of age for America,” Wiley said. “This part of the world was at the core of the cultural revolution that America was so heavily marked by in the end of the ’50s and the core of the ’60s. … [The Bay Area] became the site of resistance for people of color, for the marginalized, for the queer.”\u003c/p>\n\u003cp>It’s this type of resistance that Wiley embeds within the exhibition, amidst all the imagery of death. In one of the mural-sized paintings, a woman lays lifeless on a grassy knoll against a backdrop of mostly brown, dead leaves – a distinct departure from the colorful foliage that typically surrounds Wiley’s subjects. Yet a smattering of vibrant, living flowers and vines grow and persist around her fallen figure.\u003c/p>\n\u003cp>“There’s a stubborn holding on to life and celebration in the midst of all of this suffering,” Wiley said. “I wanted to be able to use one of these moments – one of these dark moments in our cultural atmosphere – to talk about something that’s sure, a little bit of a downer, but also defiantly present, defiantly alive and imbibed with a type of resilience and virtue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>‘Kehinde Wiley: An Archaeology of Silence’ is on view at the de Young Museum in San Francisco through Oct. 15. Details on the exhibition and associated programming are \u003ca href=\"https://www.famsf.org/exhibitions/kehinde-wiley-an-archaeology-of-silence\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926546/kehinde-wiley-archaeology-of-silence-de-young-review","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2504","arts_10342","arts_10278","arts_769","arts_585"],"featImg":"arts_13926553","label":"arts_140"},"arts_13916651":{"type":"posts","id":"arts_13916651","meta":{"index":"posts_1591205157","site":"arts","id":"13916651","score":null,"sort":[1658957803000]},"guestAuthors":[],"slug":"faith-ringgold-american-people-de-young-review","title":"Faith Ringgold’s Art Was Never Squashed by the Reality of America","publishDate":1658957803,"format":"standard","headTitle":"Faith Ringgold’s Art Was Never Squashed by the Reality of America | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When an artist has been creating work in various forms for six decades, that work becomes known to different audiences in different ways. For 91-year-old Faith Ringgold, the breadth and volume of her artistic career has spawned any number of isolated fan clubs. Many will be most familiar with her “story quilts,” which she began making in 1983 and which have toured extensively over the years. Meanwhile, children of the ’90s grew up reading Ringgold’s illustrated book \u003ci>\u003ca href=\"https://www.penguinrandomhouse.com/books/154450/tar-beach-by-faith-ringgold/\" rel=\"noopener noreferrer\" target=\"_blank\">Tar Beach\u003c/a>\u003c/i>, about her own childhood in Harlem. Others may know only of her activism, much of it directed at New York institutions for failing to show Black women artists or hire Black curators.\u003c/p>\n\u003cp>Hence, the incredible gift of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Faith Ringgold: American People\u003c/a>\u003c/i> at the de Young, which allows all those audiences to see a life’s work beyond the limitations of a specific art history lecture or a passing glimpse at a narrowly focused museum show.\u003c/p>\n\u003cp>The retrospective, curated by the \u003ca href=\"https://www.newmuseum.org/exhibitions/view/faith-ringgold-american-people\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum\u003c/a>, opens with a 1963 painting inspired by a racist encounter from the artist’s childhood. The show ends with a series reflecting on her 1992 move from Harlem to a predominantly white suburb of New Jersey. While these bookends capture Ringgold’s desire to depict—not sugarcoat—the realities of life for Black women in America, her work does not exist solely within this context. The great pleasure in viewing so much of Ringgold’s art is learning that she cannot be assigned to any one category, be it Black artist, textile artist, feminist, activist, conceptual artist or storyteller.\u003c/p>\n\u003cfigure id=\"attachment_13916665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ART518404-cropped_1200ppi.jpeg\" alt=\"Painting of Black man, white woman and white man against American flag with bleeding red stripes\" width=\"1200\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-800x604.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-1020x770.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-160x121.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-768x580.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faith Ringgold, ‘American People Series #18: The Flag Is Bleeding,’ 1967. Oil on canvas, 72 x 96 in. \u003ccite>(© 2022 Faith Ringgold / Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Black woman, Ringgold was routinely rejected, condescended to and relegated to ancillary roles by a predominantly white and male New York art world as she began her career in the 1960s. Still, she took up space: in sidewalk protests, with costumed performances, and, in her first solo show, in her large-scale paintings. Ringgold’s \u003ci>American People Series\u003c/i> was first shown in a 1967 exhibition at New York’s Spectrum Gallery, and culminated in three “murals” (as she called them), two of which are on view at the de Young. (In a story that repeats itself across so many women’s artistic careers, these murals rarely emerged from Ringgold’s storage for decades after.)\u003c/p>\n\u003cp>In one, \u003ci>American People Series #18: The Flag Is Bleeding\u003c/i>, three figures stand arm-in-arm, intermingled with the stars and stripes: a Black man, a white woman and white man. Noticeably missing is Ringgold’s own identity. Black women were simply not part of the conversation at the time, she later explained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ringgold’s work fluidly encompasses both explicit imagery and conceptually rigorous processes. Immediately following \u003ci>American People\u003c/i>, she began her \u003ci>Black Light Series\u003c/i>, works made with almost no white paint. In these rich, luminous paintings, she rendered faces, parties, text and, once again, the American flag, in a refusal of Western art history’s reliance on whiteness. Like Roy DeCarava, who pushed the blacks of his photographs to showcase a range of shades in his depictions of Black life, Ringgold used the medium of oil paint to argue for a Black aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13916663\" class=\"wp-caption aligncenter\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy.jpeg\" alt=\"Painting divided into four alternating blue and orange zones with dancing figures\" width=\"1125\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-800x568.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-1020x724.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-768x545.jpeg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Faith Ringgold, ‘Black Light Series #12: Party Time,’ 1969. Oil on canvas, 59.75 × 84 in. \u003ccite>(© Faith Ringgold / ARS, NY and DACS, London, courtesy ACA Galleries, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between political posters like the powerful \u003ci>United States of Attica\u003c/i> and the wide-ranging, fantastical story quilts about a Black artist in France (\u003ci>The French Collection\u003c/i>), Ringgold adapted her practice to suit her subject matter. The former are striking designs calling for civil rights, justice and an end to state-sanctioned violence. They remain, in many instances, timely. The latter is a series of poetic, expansive considerations on the decisions female artists face when it comes to marriage, children and securing their place in art history. The central character, Willia Marie Simone, combines a version of Ringgold and her mother, Willi Posey, a Harlem fashion designer.\u003c/p>\n\u003cp>In both the posters and \u003ci>The French Collection\u003c/i>, Ringgold created her own vision of what the world should be. Again and again, her work is rooted to a time and place, but her voice and artistic approach to her subjects carry across the years, as fresh and relevant as the day each piece was made.\u003c/p>\n\u003cp>This was most evident in the new-to-me collection of soft sculptures, some connected to performances Ringgold first staged in 1976 with \u003ci>The Wake and Resurrection of the Bicentennial Negro\u003c/i>. In this strong critique of the American Bicentennial, staged as a scene of mourning, Ringgold points out that 1776 was not a moment of independence for all. The piece’s wall text includes a quote from the artist: “For almost half of that time we had been in slavery, and for most of the following years we had still been struggling to become fully free.”\u003c/p>\n\u003cfigure id=\"attachment_13916662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200.jpg\" alt=\"Gallery view with glass-enclosed space of life-sized sewn figures.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Faith Ringgold: American People’ with the artist’s soft sculptures at right. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13910464,arts_13903317']The de Young has brought incredible retrospectives of women artists to San Francisco over the past two years; \u003ca href=\"https://www.kqed.org/arts/13903317/judy-chicagos-de-young-review\" rel=\"noopener noreferrer\" target=\"_blank\">Judy Chicago\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13910464/alice-neel-de-young-review-people-come-first\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Neel\u003c/a>, and now, Ringgold. In these shows, certain themes have emerged to explain why these retrospectives are happening now: works amassing in storage; historic relegation to “feminist” or “political” categories; being out of sync with market trends; later-in-life recognition. I have absolutely been seduced by these narratives. But this framing so often belies the hard work and accomplishments that came well before a museum decided to bill their retrospective as “long overdue.”\u003c/p>\n\u003cp>Ringgold is the recipient of more than 23 honorary doctorate degrees. She has published multiple children’s books and a memoir. She was a key member of seminal activist organizations, including Art Workers’ Coalition, the Ad Hoc Women Artists’ Committee and Where We At. With her two daughters, she helped found the Women Students and Artists for Black Art Liberation. None of this means that she didn’t face racism and sexism, but it’s important to understand just how much Ringgold has done in life, while under the steadfast belief that as an American, she can speak and make as she wants.\u003c/p>\n\u003cp>As Amiri Baraka wrote in 1985, “Faith Ringgold’s works have existed within the parameters of ‘American Art’ but have never been squashed by the exclusion and denial of reality that American art sometimes is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Faith Ringgold: American People’ is on view at the de Young museum through Nov. 27, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In the 91-year-old’s de Young retrospective, her work is as fresh and relevant as the day each piece was made.","status":"publish","parent":0,"modified":1705006566,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1177},"headData":{"title":"‘Faith Ringgold: American People’ Review: Necessary Viewing | KQED","description":"In the 91-year-old’s de Young retrospective, her work is as fresh and relevant as the day each piece was made.","ogTitle":"Faith Ringgold’s Art Was Never Squashed by the Reality of America","ogDescription":"","ogImgId":"arts_13916666","twTitle":"Faith Ringgold’s Art Was Never Squashed by the Reality of America","twDescription":"","twImgId":"arts_13916666","socialTitle":"‘Faith Ringgold: American People’ Review: Necessary Viewing %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Faith Ringgold’s Art Was Never Squashed by the Reality of America","datePublished":"2022-07-27T21:36:43.000Z","dateModified":"2024-01-11T20:56:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13916651/faith-ringgold-american-people-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When an artist has been creating work in various forms for six decades, that work becomes known to different audiences in different ways. For 91-year-old Faith Ringgold, the breadth and volume of her artistic career has spawned any number of isolated fan clubs. Many will be most familiar with her “story quilts,” which she began making in 1983 and which have toured extensively over the years. Meanwhile, children of the ’90s grew up reading Ringgold’s illustrated book \u003ci>\u003ca href=\"https://www.penguinrandomhouse.com/books/154450/tar-beach-by-faith-ringgold/\" rel=\"noopener noreferrer\" target=\"_blank\">Tar Beach\u003c/a>\u003c/i>, about her own childhood in Harlem. Others may know only of her activism, much of it directed at New York institutions for failing to show Black women artists or hire Black curators.\u003c/p>\n\u003cp>Hence, the incredible gift of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Faith Ringgold: American People\u003c/a>\u003c/i> at the de Young, which allows all those audiences to see a life’s work beyond the limitations of a specific art history lecture or a passing glimpse at a narrowly focused museum show.\u003c/p>\n\u003cp>The retrospective, curated by the \u003ca href=\"https://www.newmuseum.org/exhibitions/view/faith-ringgold-american-people\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum\u003c/a>, opens with a 1963 painting inspired by a racist encounter from the artist’s childhood. The show ends with a series reflecting on her 1992 move from Harlem to a predominantly white suburb of New Jersey. While these bookends capture Ringgold’s desire to depict—not sugarcoat—the realities of life for Black women in America, her work does not exist solely within this context. The great pleasure in viewing so much of Ringgold’s art is learning that she cannot be assigned to any one category, be it Black artist, textile artist, feminist, activist, conceptual artist or storyteller.\u003c/p>\n\u003cfigure id=\"attachment_13916665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ART518404-cropped_1200ppi.jpeg\" alt=\"Painting of Black man, white woman and white man against American flag with bleeding red stripes\" width=\"1200\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-800x604.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-1020x770.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-160x121.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ART518404-cropped_1200ppi-768x580.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faith Ringgold, ‘American People Series #18: The Flag Is Bleeding,’ 1967. Oil on canvas, 72 x 96 in. \u003ccite>(© 2022 Faith Ringgold / Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Black woman, Ringgold was routinely rejected, condescended to and relegated to ancillary roles by a predominantly white and male New York art world as she began her career in the 1960s. Still, she took up space: in sidewalk protests, with costumed performances, and, in her first solo show, in her large-scale paintings. Ringgold’s \u003ci>American People Series\u003c/i> was first shown in a 1967 exhibition at New York’s Spectrum Gallery, and culminated in three “murals” (as she called them), two of which are on view at the de Young. (In a story that repeats itself across so many women’s artistic careers, these murals rarely emerged from Ringgold’s storage for decades after.)\u003c/p>\n\u003cp>In one, \u003ci>American People Series #18: The Flag Is Bleeding\u003c/i>, three figures stand arm-in-arm, intermingled with the stars and stripes: a Black man, a white woman and white man. Noticeably missing is Ringgold’s own identity. Black women were simply not part of the conversation at the time, she later explained.\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>Ringgold’s work fluidly encompasses both explicit imagery and conceptually rigorous processes. Immediately following \u003ci>American People\u003c/i>, she began her \u003ci>Black Light Series\u003c/i>, works made with almost no white paint. In these rich, luminous paintings, she rendered faces, parties, text and, once again, the American flag, in a refusal of Western art history’s reliance on whiteness. Like Roy DeCarava, who pushed the blacks of his photographs to showcase a range of shades in his depictions of Black life, Ringgold used the medium of oil paint to argue for a Black aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13916663\" class=\"wp-caption aligncenter\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy.jpeg\" alt=\"Painting divided into four alternating blue and orange zones with dancing figures\" width=\"1125\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-800x568.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-1020x724.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/1969_Black-Light-Series-12-Party-Time-copy-768x545.jpeg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Faith Ringgold, ‘Black Light Series #12: Party Time,’ 1969. Oil on canvas, 59.75 × 84 in. \u003ccite>(© Faith Ringgold / ARS, NY and DACS, London, courtesy ACA Galleries, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between political posters like the powerful \u003ci>United States of Attica\u003c/i> and the wide-ranging, fantastical story quilts about a Black artist in France (\u003ci>The French Collection\u003c/i>), Ringgold adapted her practice to suit her subject matter. The former are striking designs calling for civil rights, justice and an end to state-sanctioned violence. They remain, in many instances, timely. The latter is a series of poetic, expansive considerations on the decisions female artists face when it comes to marriage, children and securing their place in art history. The central character, Willia Marie Simone, combines a version of Ringgold and her mother, Willi Posey, a Harlem fashion designer.\u003c/p>\n\u003cp>In both the posters and \u003ci>The French Collection\u003c/i>, Ringgold created her own vision of what the world should be. Again and again, her work is rooted to a time and place, but her voice and artistic approach to her subjects carry across the years, as fresh and relevant as the day each piece was made.\u003c/p>\n\u003cp>This was most evident in the new-to-me collection of soft sculptures, some connected to performances Ringgold first staged in 1976 with \u003ci>The Wake and Resurrection of the Bicentennial Negro\u003c/i>. In this strong critique of the American Bicentennial, staged as a scene of mourning, Ringgold points out that 1776 was not a moment of independence for all. The piece’s wall text includes a quote from the artist: “For almost half of that time we had been in slavery, and for most of the following years we had still been struggling to become fully free.”\u003c/p>\n\u003cfigure id=\"attachment_13916662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200.jpg\" alt=\"Gallery view with glass-enclosed space of life-sized sewn figures.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/25_dY_Ringgold_GarySexton_7.13.22_1200-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Faith Ringgold: American People’ with the artist’s soft sculptures at right. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910464,arts_13903317","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The de Young has brought incredible retrospectives of women artists to San Francisco over the past two years; \u003ca href=\"https://www.kqed.org/arts/13903317/judy-chicagos-de-young-review\" rel=\"noopener noreferrer\" target=\"_blank\">Judy Chicago\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13910464/alice-neel-de-young-review-people-come-first\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Neel\u003c/a>, and now, Ringgold. In these shows, certain themes have emerged to explain why these retrospectives are happening now: works amassing in storage; historic relegation to “feminist” or “political” categories; being out of sync with market trends; later-in-life recognition. I have absolutely been seduced by these narratives. But this framing so often belies the hard work and accomplishments that came well before a museum decided to bill their retrospective as “long overdue.”\u003c/p>\n\u003cp>Ringgold is the recipient of more than 23 honorary doctorate degrees. She has published multiple children’s books and a memoir. She was a key member of seminal activist organizations, including Art Workers’ Coalition, the Ad Hoc Women Artists’ Committee and Where We At. With her two daughters, she helped found the Women Students and Artists for Black Art Liberation. None of this means that she didn’t face racism and sexism, but it’s important to understand just how much Ringgold has done in life, while under the steadfast belief that as an American, she can speak and make as she wants.\u003c/p>\n\u003cp>As Amiri Baraka wrote in 1985, “Faith Ringgold’s works have existed within the parameters of ‘American Art’ but have never been squashed by the exclusion and denial of reality that American art sometimes is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>‘Faith Ringgold: American People’ is on view at the de Young museum through Nov. 27, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916651/faith-ringgold-american-people-de-young-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2504","arts_10342","arts_10278","arts_769","arts_585"],"featImg":"arts_13916667","label":"arts_140"},"arts_13915921":{"type":"posts","id":"arts_13915921","meta":{"index":"posts_1591205157","site":"arts","id":"13915921","score":null,"sort":[1657569163000]},"guestAuthors":[],"slug":"de-young-museum-acquires-42-new-works-by-bay-area-artists","title":"de Young Museum Acquires 42 New Works by Bay Area Artists","publishDate":1657569163,"format":"standard","headTitle":"de Young Museum Acquires 42 New Works by Bay Area Artists | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Fine Arts Museums of San Francisco \u003ca href=\"https://deyoung.famsf.org/press-room/major-new-acquisition-funded-svane-family-foundation-fosters-bay-area-arts-community?utm_medium=email&utm_source=famsfcomms&utm_campaign=general&utm_content=2022-07-11---cta&mc_cid=374ab3302a&mc_eid=b13f086c69\" target=\"_blank\" rel=\"noopener noreferrer\">announced on Monday\u003c/a> an exciting expansion of its contemporary Bay Area art collection with the acquisition of 42 works by 30 emerging and mid-career artists and collectives.\u003c/p>\n\u003cp>Funded by a $1 million donation from the \u003ca href=\"https://www.svaneff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Svane Family Foundation\u003c/a>, the additions will be featured in a 2023 exhibition at the de Young. The list of artists is a who’s who of local (and sometimes formerly local) talent: Wesaam Al-Badry, Miguel Arzabe, Saif Azzuz, Sadie Barnette, Demetri Broxton, Sydney Cain, Maria A. Guzmán Capron, Woody De Othello, Kota Ezawa, Ana Teresa Fernández, Guillermo Galindo, Katy Grannan, Angela Hennessy, Liz Hernández, David Huffman, Chris Johanson, Sahar Khoury, Koak, Christiane Lyons, Ruby Neri, Rashaad Newsome, Ramekon O’Arwisters, Postcommodity, Clare Rojas, Muzae Sesay, Daisy May Sheff, Allison Smith, Stephanie Syjuco, Rupy C. Tut, and Chelsea Wong.\u003c/p>\n\u003cfigure id=\"attachment_13915924\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Wong_1200.jpg\" alt=\"\" width=\"1200\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-768x956.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Ryoko Wong, ‘Mint Tea in the Sauna During Sunset,’ 2022; Acrylic on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Randy Dodson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to today’s announcement, more than half the artists are women and the majority are people of color. The acquisition builds on the de Young’s recent efforts to highlight the work of local artists, like the immensely popular 2020 show \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/de-young-open\" target=\"_blank\" rel=\"noopener noreferrer\">The de Young Open\u003c/a>\u003c/i>, a pandemic-prompted juried exhibition featuring work made in the nine Bay Area counties.\u003c/p>\n\u003cp>This isn’t the first time the Svane Family Foundation, created in 2019 by Zendesk Founder and CEO Mikkel Svane, has directed its money towards the Bay Area arts community in an effort to keep art (and artists) in the region. In late 2020, the foundation commissioned $1 million-worth of new work from 100 local artists, later exhibiting and auctioning the output as a fundraiser.\u003c/p>\n\u003cp>In a world where artists are routinely asked to donate works to auctions that support nonprofits (with varying percentages of return on the sales), the Svane model was a novel one, raising $330,100 for ArtSpan while paying the included artists for their work. (Full disclosure, this reporter was a recipient of a 2020 Svane commission.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The de Young donation finds the Svane Family Foundation following a more time-honored and institutional route—one that also benefits the galleries coordinating the sales. Selected by Claudia Schmuckli, curator in charge of contemporary art and programming, the 42 pieces came from 13 San Francisco galleries, five out-of-state spaces and three artists without representation.\u003c/p>\n\u003cfigure id=\"attachment_13915927\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hernandez_1200.jpg\" alt=\"\" width=\"1200\" height=\"1433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-768x917.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liz Hernández, ‘Mi permiso secreto (My secret permission),’ 2022; Clay, gold leaf, and vinyl paint on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist & Part Two; Photo by Randy Dodson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over time,” Schmuckli says in the announcement, “the acquisition developed organically into thematic sections that reflect the issues artists here are grappling with at this very moment, including San Francisco’s own legacy of radical social consciousness and the threat that widespread gentrification poses to such independent thought.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps most importantly, the acquisitions mean these artists can now identify themselves as “collected by” the Fine Arts Museums: no small thing in the development of a long-term artistic career.\u003c/p>\n\n","blocks":[],"excerpt":"The acquisitions, funded by a $1 million donation, will be exhibited in 2023.","status":"publish","parent":0,"modified":1705006634,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":560},"headData":{"title":"de Young Museum Acquires 42 New Works by Bay Area Artists | KQED","description":"The acquisitions, funded by a $1 million donation, will be exhibited in 2023.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"de Young Museum Acquires 42 New Works by Bay Area Artists","datePublished":"2022-07-11T19:52:43.000Z","dateModified":"2024-01-11T20:57:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915921/de-young-museum-acquires-42-new-works-by-bay-area-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Arts Museums of San Francisco \u003ca href=\"https://deyoung.famsf.org/press-room/major-new-acquisition-funded-svane-family-foundation-fosters-bay-area-arts-community?utm_medium=email&utm_source=famsfcomms&utm_campaign=general&utm_content=2022-07-11---cta&mc_cid=374ab3302a&mc_eid=b13f086c69\" target=\"_blank\" rel=\"noopener noreferrer\">announced on Monday\u003c/a> an exciting expansion of its contemporary Bay Area art collection with the acquisition of 42 works by 30 emerging and mid-career artists and collectives.\u003c/p>\n\u003cp>Funded by a $1 million donation from the \u003ca href=\"https://www.svaneff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Svane Family Foundation\u003c/a>, the additions will be featured in a 2023 exhibition at the de Young. The list of artists is a who’s who of local (and sometimes formerly local) talent: Wesaam Al-Badry, Miguel Arzabe, Saif Azzuz, Sadie Barnette, Demetri Broxton, Sydney Cain, Maria A. Guzmán Capron, Woody De Othello, Kota Ezawa, Ana Teresa Fernández, Guillermo Galindo, Katy Grannan, Angela Hennessy, Liz Hernández, David Huffman, Chris Johanson, Sahar Khoury, Koak, Christiane Lyons, Ruby Neri, Rashaad Newsome, Ramekon O’Arwisters, Postcommodity, Clare Rojas, Muzae Sesay, Daisy May Sheff, Allison Smith, Stephanie Syjuco, Rupy C. Tut, and Chelsea Wong.\u003c/p>\n\u003cfigure id=\"attachment_13915924\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Wong_1200.jpg\" alt=\"\" width=\"1200\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-768x956.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Ryoko Wong, ‘Mint Tea in the Sauna During Sunset,’ 2022; Acrylic on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Randy Dodson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to today’s announcement, more than half the artists are women and the majority are people of color. The acquisition builds on the de Young’s recent efforts to highlight the work of local artists, like the immensely popular 2020 show \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/de-young-open\" target=\"_blank\" rel=\"noopener noreferrer\">The de Young Open\u003c/a>\u003c/i>, a pandemic-prompted juried exhibition featuring work made in the nine Bay Area counties.\u003c/p>\n\u003cp>This isn’t the first time the Svane Family Foundation, created in 2019 by Zendesk Founder and CEO Mikkel Svane, has directed its money towards the Bay Area arts community in an effort to keep art (and artists) in the region. In late 2020, the foundation commissioned $1 million-worth of new work from 100 local artists, later exhibiting and auctioning the output as a fundraiser.\u003c/p>\n\u003cp>In a world where artists are routinely asked to donate works to auctions that support nonprofits (with varying percentages of return on the sales), the Svane model was a novel one, raising $330,100 for ArtSpan while paying the included artists for their work. (Full disclosure, this reporter was a recipient of a 2020 Svane commission.)\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 de Young donation finds the Svane Family Foundation following a more time-honored and institutional route—one that also benefits the galleries coordinating the sales. Selected by Claudia Schmuckli, curator in charge of contemporary art and programming, the 42 pieces came from 13 San Francisco galleries, five out-of-state spaces and three artists without representation.\u003c/p>\n\u003cfigure id=\"attachment_13915927\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hernandez_1200.jpg\" alt=\"\" width=\"1200\" height=\"1433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-768x917.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liz Hernández, ‘Mi permiso secreto (My secret permission),’ 2022; Clay, gold leaf, and vinyl paint on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist & Part Two; Photo by Randy Dodson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over time,” Schmuckli says in the announcement, “the acquisition developed organically into thematic sections that reflect the issues artists here are grappling with at this very moment, including San Francisco’s own legacy of radical social consciousness and the threat that widespread gentrification poses to such independent thought.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps most importantly, the acquisitions mean these artists can now identify themselves as “collected by” the Fine Arts Museums: no small thing in the development of a long-term artistic career.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915921/de-young-museum-acquires-42-new-works-by-bay-area-artists","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_2504","arts_10342","arts_4487","arts_10278"],"featImg":"arts_13915923","label":"arts"},"arts_13905720":{"type":"posts","id":"arts_13905720","meta":{"index":"posts_1591205157","site":"arts","id":"13905720","score":null,"sort":[1635966761000]},"guestAuthors":[],"slug":"de-young-patrick-kelly-fashion-show-review","title":"Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion","publishDate":1635966761,"format":"standard","headTitle":"Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>[aside postID='arts_13901009']Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The late designer made a splash in 1980s Paris. At the de Young, his work still conveys his enthusiastic spirit.","status":"publish","parent":0,"modified":1705007528,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1046},"headData":{"title":"de Young Revisits 80s Fashion With ‘Patrick Kelly: Runway of Love’ | KQED","description":"The late designer made a splash in 1980s Paris. At the de Young, his work still conveys his enthusiastic spirit.","ogTitle":"Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion","ogDescription":"","ogImgId":"","twTitle":"Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion","twDescription":"","twImgId":"","socialTitle":"de Young Revisits 80s Fashion With ‘Patrick Kelly: Runway of Love’%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Revisiting the Gleeful Joy of Patrick Kelly’s Heart-Filled Fashion","datePublished":"2021-11-03T19:12:41.000Z","dateModified":"2024-01-11T21:12:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nia Coats","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905720/de-young-patrick-kelly-fashion-show-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13901009","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \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>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905720/de-young-patrick-kelly-fashion-show-review","authors":["byline_arts_13905720"],"categories":["arts_1","arts_76"],"tags":["arts_2504","arts_10342","arts_1696","arts_10278","arts_769","arts_585"],"featImg":"arts_13905762","label":"arts"},"arts_13903835":{"type":"posts","id":"arts_13903835","meta":{"index":"posts_1591205157","site":"arts","id":"13903835","score":null,"sort":[1632848448000]},"guestAuthors":[],"slug":"judy-chicago-performance-de-young","title":"If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art","publishDate":1632848448,"format":"standard","headTitle":"If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you see colorful smoke rising from Golden Gate Park this October, there’s no cause for alarm. It’s art, and you might want to make sure you’ve got a clear view of its source. \u003c/p>\n\u003cp>In conjunction with feminist powerhouse Judy Chicago’s \u003ca href=\"https://www.kqed.org/arts/13903317/judy-chicagos-de-young-review\" rel=\"noopener noreferrer\" target=\"_blank\">current retrospective\u003c/a> at the de Young Museum, the artist helms a new performance atop a 27-foot-high scaffold that creates clouds of ephemeral color manipulated by the wind. The museum is vague on the material specifics of \u003ci>\u003ca href=\"https://deyoung.famsf.org/calendar/forever-de-young-judy-chicago-performance\" rel=\"noopener noreferrer\" target=\"_blank\">Forever de Young\u003c/a>\u003c/i> (as the performance is punnily titled), but promises “spectacular color effects.”[aside postID='arts_13903317']\u003c/p>\n\u003cp>Chicago began creating her \u003ci>Atmospheres\u003c/i> in the late 1960s in the deserts of Southern California, at a time when Land Art was a male-dominated field, often characterized by physically excavating the earth with heavy machinery. Working with friends, she and other women released clouds of colored smoke in dramatic landscapes, sometimes nude, with their bodies painted to match. When a performance was over, only the documentation remained.\u003c/p>\n\u003cp>“I’ve always been more interested in my smoke pieces as a gesture of liberation—although I don’t think I understood them as that in the late 1960s,” Chicago said in a 2020 video interview with the Nevada Art Museum, which recently acquired her dry ice, smoke and fireworks archive (now \u003ca href=\"https://www.nevadaart.org/art/exhibitions/judy-chicago/\" rel=\"noopener noreferrer\" target=\"_blank\">on view in Reno\u003c/a> through June 12, 2022).\u003c/p>\n\u003cfigure id=\"attachment_13903839\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/11560_Immolation_1200.jpg\" alt=\"Woman with green skin sits in a cloud of orange smoke.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13903839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Judy Chicago, ‘Immolation,’ from the series ‘Women and Smoke,’ 1972. Fireworks performance; performed in California desert. \u003ccite>(Courtesy of the artist; Salon 94, New York; and Jessica Silverman, San Francisco. © Judy Chicago / Artists Rights Society (ARS), New York. Photo courtesy of Through the Flower Archives; Image provided by Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Forever de Young\u003c/i> is part of a fairly recent return to this body of work, which started in 2012 with the installation of \u003ci>A Butterfly for Pomona\u003c/i> on Pomona College’s football field (a takeover of traditional male space that Chicago particularly loved). Before that, her last \u003ci>Atmosphere\u003c/i> was commissioned by the \u003ca href=\"https://museumca.org/exhibit/judy-chicago-butterfly-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a> in 1974. Commercial fireworks and road flares arranged in the shape of a butterfly burned for about 17 minutes on the edge of Lake Merritt, a smoldering, yet delicate symbol that appears often in Chicago’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s fitting, then, to see Chicago’s “paintings” of colored smoke return to the Bay Area. And while the Music Concourse is by no means a natural landscape, it has emerged as a powerful setting for political and artistic action, especially since protesters targeted several now-removed statues during summer of 2020. There, Dana King’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13896901/this-juneteenth-sculptures-honoring-african-ancestors-arrive-in-golden-gate-park\" rel=\"noopener noreferrer\" target=\"_blank\">Monumental Reckoning\u003c/a>\u003c/i> installation currently surrounds the base of the former Francis Scott Key statue. \u003c/p>\n\u003cp>Chicago views her \u003ci>Atmospheres\u003c/i> as a “kind of gift.” Their beauty lies in their ephemerality, which encourages a lighter, more complementary relationship to the land and a present-tense appreciation of a finite experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Forever de Young’ begins at 5pm on Saturday, Oct. 16 outside the de Young Museum, with remarks at 5:30pm and the performance starting at 6pm. The museum will also livestream the event. Admission is free. \u003ca href=\"https://deyoung.famsf.org/calendar/forever-de-young-judy-chicago-performance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Feminist artist Judy Chicago will transform the park’s Music Concourse with clouds of colored smoke.","status":"publish","parent":0,"modified":1705007690,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":546},"headData":{"title":"Judy Chicago Stages New 'Atmospheres' Performance at de Young | KQED","description":"Feminist artist Judy Chicago will transform the park’s Music Concourse with clouds of colored smoke.","ogTitle":"If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art","ogDescription":"","ogImgId":"","twTitle":"If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art","twDescription":"","twImgId":"","socialTitle":"Judy Chicago Stages New 'Atmospheres' Performance at de Young %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"If You See Smoke Coming from Golden Gate Park, Don’t Worry—It’s Art","datePublished":"2021-09-28T17:00:48.000Z","dateModified":"2024-01-11T21:14:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903835/judy-chicago-performance-de-young","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you see colorful smoke rising from Golden Gate Park this October, there’s no cause for alarm. It’s art, and you might want to make sure you’ve got a clear view of its source. \u003c/p>\n\u003cp>In conjunction with feminist powerhouse Judy Chicago’s \u003ca href=\"https://www.kqed.org/arts/13903317/judy-chicagos-de-young-review\" rel=\"noopener noreferrer\" target=\"_blank\">current retrospective\u003c/a> at the de Young Museum, the artist helms a new performance atop a 27-foot-high scaffold that creates clouds of ephemeral color manipulated by the wind. The museum is vague on the material specifics of \u003ci>\u003ca href=\"https://deyoung.famsf.org/calendar/forever-de-young-judy-chicago-performance\" rel=\"noopener noreferrer\" target=\"_blank\">Forever de Young\u003c/a>\u003c/i> (as the performance is punnily titled), but promises “spectacular color effects.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903317","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chicago began creating her \u003ci>Atmospheres\u003c/i> in the late 1960s in the deserts of Southern California, at a time when Land Art was a male-dominated field, often characterized by physically excavating the earth with heavy machinery. Working with friends, she and other women released clouds of colored smoke in dramatic landscapes, sometimes nude, with their bodies painted to match. When a performance was over, only the documentation remained.\u003c/p>\n\u003cp>“I’ve always been more interested in my smoke pieces as a gesture of liberation—although I don’t think I understood them as that in the late 1960s,” Chicago said in a 2020 video interview with the Nevada Art Museum, which recently acquired her dry ice, smoke and fireworks archive (now \u003ca href=\"https://www.nevadaart.org/art/exhibitions/judy-chicago/\" rel=\"noopener noreferrer\" target=\"_blank\">on view in Reno\u003c/a> through June 12, 2022).\u003c/p>\n\u003cfigure id=\"attachment_13903839\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/11560_Immolation_1200.jpg\" alt=\"Woman with green skin sits in a cloud of orange smoke.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13903839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11560_Immolation_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Judy Chicago, ‘Immolation,’ from the series ‘Women and Smoke,’ 1972. Fireworks performance; performed in California desert. \u003ccite>(Courtesy of the artist; Salon 94, New York; and Jessica Silverman, San Francisco. © Judy Chicago / Artists Rights Society (ARS), New York. Photo courtesy of Through the Flower Archives; Image provided by Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Forever de Young\u003c/i> is part of a fairly recent return to this body of work, which started in 2012 with the installation of \u003ci>A Butterfly for Pomona\u003c/i> on Pomona College’s football field (a takeover of traditional male space that Chicago particularly loved). Before that, her last \u003ci>Atmosphere\u003c/i> was commissioned by the \u003ca href=\"https://museumca.org/exhibit/judy-chicago-butterfly-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a> in 1974. Commercial fireworks and road flares arranged in the shape of a butterfly burned for about 17 minutes on the edge of Lake Merritt, a smoldering, yet delicate symbol that appears often in Chicago’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s fitting, then, to see Chicago’s “paintings” of colored smoke return to the Bay Area. And while the Music Concourse is by no means a natural landscape, it has emerged as a powerful setting for political and artistic action, especially since protesters targeted several now-removed statues during summer of 2020. There, Dana King’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13896901/this-juneteenth-sculptures-honoring-african-ancestors-arrive-in-golden-gate-park\" rel=\"noopener noreferrer\" target=\"_blank\">Monumental Reckoning\u003c/a>\u003c/i> installation currently surrounds the base of the former Francis Scott Key statue. \u003c/p>\n\u003cp>Chicago views her \u003ci>Atmospheres\u003c/i> as a “kind of gift.” Their beauty lies in their ephemerality, which encourages a lighter, more complementary relationship to the land and a present-tense appreciation of a finite experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Forever de Young’ begins at 5pm on Saturday, Oct. 16 outside the de Young Museum, with remarks at 5:30pm and the performance starting at 6pm. The museum will also livestream the event. Admission is free. \u003ca href=\"https://deyoung.famsf.org/calendar/forever-de-young-judy-chicago-performance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903835/judy-chicago-performance-de-young","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2504","arts_10342","arts_10278","arts_585"],"featImg":"arts_13903840","label":"arts_140"},"arts_13903317":{"type":"posts","id":"arts_13903317","meta":{"index":"posts_1591205157","site":"arts","id":"13903317","score":null,"sort":[1631838581000]},"guestAuthors":[],"slug":"judy-chicagos-de-young-review","title":"Judy Chicago (Finally) Gets Her Due in de Young Retrospective","publishDate":1631838581,"format":"standard","headTitle":"Judy Chicago (Finally) Gets Her Due in de Young Retrospective | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The de Young Museum’s \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/judy-chicago\" rel=\"noopener noreferrer\" target=\"_blank\">Judy Chicago: A Retrospective\u003c/a>\u003c/i> opens with what appears to be a death mask. It’s the artist cast in bronze from the waist up, head on a pillow, flowers in her hands and a cloth pulled up to her chest. Like Han Solo, but peaceful. \u003ci>Mortality Relief\u003c/i>, as the piece is called, and its zoological analog \u003ci>Extinction Relief\u003c/i> are part of the (very much alive) artist’s recent meditation on death and extinction, a project called \u003ci>The End\u003c/i>. In an accompanying series of small, luminous paintings on black glass, she imagines the ways in which she might die—an unavoidable eventuality—alongside the animal populations decimated by human activity and disregard. \u003c/p>\n\u003cp>It’s a somber start to an exhibition that triumphantly celebrates Chicago’s six-decade-long career. \u003cem>Judy Chicago: A Retrospective\u003c/em> presents the artist’s most recent artwork first, then traces a path backwards through seven bodies of work, including her best-known piece, \u003cem>The Dinner Party\u003c/em>. It’s a tactic that might be disorienting had Chicago’s level of rigor or artistry ever varied. It didn’t. From her active, contemporary practice to her minimalist sculptures and paintings of the ’60s and ’70s, \u003cem>Judy Chicago: A Retrospective\u003c/em> proves that Chicago has always been making at the highest level.\u003c/p>\n\u003cfigure id=\"attachment_13903325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Framed paintings of gorillas and elephants against a dark purple wall.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Collected,’ 2015 and ‘Poached,’ 2015–16 from ‘The End: A Meditation on Death and Extinction.’ \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In each body of work (“body” doing double duty here as one of the artist’s primary fixations), Chicago adopts a new mode of making. For \u003ci>Holocaust Project\u003c/i> (1985–93), it’s stained glass and cast glass sculptures; for \u003ci>PowerPlay\u003c/i> (1982–87), it’s monumental figurative paintings on linen; for \u003ci>Birth Project\u003c/i> (1980–85), needlepoint and tapestry. Chicago’s willingness to sketch, test and simply \u003ci>learn\u003c/i> while honing her own skills and an artwork’s final appearance plays out in notebooks across the exhibition. Some projects span as many as eight years. \u003c/p>\n\u003cp>In a series of test plates painted with butterfly imagery and Chicago’s even, lovely script, she writes about learning china-painting in the early 1970s. “I realized that I would have to extract it from its historical context and make it a more flexible technique,” the plate reads. This same sentence might be applied to all of her work. She claims the “feminine arts” (pottery, needlework) and through repetition and painstaking detail, makes their value blatantly obvious. She adopts the “masculine arts” (sculpture, large-scale painting) and renders them in rainbow-hued pastels, emphasizing the toxic, destructive qualities of traditional masculinity. \u003c/p>\n\u003cfigure id=\"attachment_13903323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Five painted plates in a vitrine.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Butterfly Test Plates,’ 1973–74 at de Young Museum. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an ease in Chicago’s virtuosic jumps from medium to medium that could obscure the hard, long, slow work at the heart of each project, but exhibition curator Claudia Schmuckli and assistant curator Janna Keegan take care to foreground process. That labor is most evident in the de Young’s presentation of \u003ci>The Dinner Party\u003c/i>, Chicago’s best known piece. It is by necessity made up of test plates, cartoons for banners and studies on paper—the actual \u003ci>Dinner Party\u003c/i> lives at the \u003ca href=\"https://www.brooklynmuseum.org/exhibitions/dinner_party/\" rel=\"noopener noreferrer\" target=\"_blank\">Brooklyn Museum\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chicago has said she didn’t know if she’d live long enough to see her career escape from the shadow of \u003ci>The Dinner Party\u003c/i> (1974–79), an installation of 39 commemorative place settings at a triangular table that celebrates over 1,000 important female figures from history. The piece premiered at the San Francisco Museum of Modern Art in 1979 and toured internationally for nine years thanks to grassroots organizing efforts, but it only emerged from storage twice more (in 1996 and 2002) before finding a permanent home at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. Plagued by negative press coverage, attribution controversies and characterization within the House of Representatives as “pornographic art,” \u003ci>The Dinner Party\u003c/i> was for many years Chicago’s greatest accomplishment and greatest albatross. \u003c/p>\n\u003cfigure id=\"attachment_13903327\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200.jpg\" alt=\"Painting of nude man with steering wheel and earth on fire.\" width=\"1200\" height=\"776\" class=\"size-full wp-image-13903327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-768x497.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Judy Chicago, ‘Driving the World to Destruction,’ from the series ‘PowerPlay,’ 1985. \u003ccite>(Courtesy of the artist; Salon 94, New York; and Jessica Silverman, San Francisco; © Judy Chicago / Artists Rights Society (ARS), New York; Photo by Donald Woodman / ARS, NY; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Dinner Party\u003c/i> lies at the heart of the de Young’s retrospective, but it doesn’t dominate the exhibition, in part because that gallery is surrounded by more finished, finalized objects from bodies of work that are just as multifaceted and visually compelling. In the next door “Feminism” gallery, which includes documentation of Chicago’s work establishing feminist art programs, paintings from her \u003ci>Reincarnation Triptych\u003c/i> (1973) glow with inner light, portals through which women from the past might journey into the present.\u003c/p>\n\u003cp>As Chicago’s art shapeshifts in its physicality it elicits different bodily reactions. While the circular, flower-like canvases of the \u003ci>Reincarnation Triptych\u003c/i> beckon, the \u003ci>PowerPlay\u003c/i> paintings purposely overwhelm with their vertical scale and imagery. In them, nude male figures, rippling with shaded muscles, spew violence and destruction onto the natural world. That energy, in turn, is countered by the horizontality of textile pieces like \u003ci>Earth Birth\u003c/i>, which present a feminist take on the traditional landscape. Here, the human figure does not impose upon or overshadow its surroundings, but is one with it, enfolded by the earth and radiating energy outward. \u003c/p>\n\u003cfigure id=\"attachment_13903322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Black and white tapestry of woman laying on her side.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Earth Birth,’ 1983 at the de Young Museum. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, (human and animal) bodies are everywhere in the exhibition, rendered in porcelain figurines, eating Shabbat dinner, giving birth and dying. One can’t help but be reminded of one’s own corporeal form throughout—and the permissions and limitations society assigns to us based on how that form is perceived. What \u003ci>Judy Chicago: A Retrospective\u003c/i> does best is what Judy Chicago has done for her entire career: questions inherited value systems, refuses to look away from difficult subjects, and lights the way for all the feminist art to come.\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>‘Judy Chicago: A Retrospective’ is on view at San Francisco’s de Young Museum through Jan. 9, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/judy-chicago\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The 82-year-old artist’s somber and celebratory retrospective cements her role in the history of feminist art.","status":"publish","parent":0,"modified":1705007737,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1127},"headData":{"title":"Judy Chicago (Finally) Gets Her Due in de Young Retrospective | KQED","description":"The 82-year-old artist’s somber and celebratory retrospective cements her role in the history of feminist art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Judy Chicago (Finally) Gets Her Due in de Young Retrospective","datePublished":"2021-09-17T00:29:41.000Z","dateModified":"2024-01-11T21:15:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903317/judy-chicagos-de-young-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The de Young Museum’s \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/judy-chicago\" rel=\"noopener noreferrer\" target=\"_blank\">Judy Chicago: A Retrospective\u003c/a>\u003c/i> opens with what appears to be a death mask. It’s the artist cast in bronze from the waist up, head on a pillow, flowers in her hands and a cloth pulled up to her chest. Like Han Solo, but peaceful. \u003ci>Mortality Relief\u003c/i>, as the piece is called, and its zoological analog \u003ci>Extinction Relief\u003c/i> are part of the (very much alive) artist’s recent meditation on death and extinction, a project called \u003ci>The End\u003c/i>. In an accompanying series of small, luminous paintings on black glass, she imagines the ways in which she might die—an unavoidable eventuality—alongside the animal populations decimated by human activity and disregard. \u003c/p>\n\u003cp>It’s a somber start to an exhibition that triumphantly celebrates Chicago’s six-decade-long career. \u003cem>Judy Chicago: A Retrospective\u003c/em> presents the artist’s most recent artwork first, then traces a path backwards through seven bodies of work, including her best-known piece, \u003cem>The Dinner Party\u003c/em>. It’s a tactic that might be disorienting had Chicago’s level of rigor or artistry ever varied. It didn’t. From her active, contemporary practice to her minimalist sculptures and paintings of the ’60s and ’70s, \u003cem>Judy Chicago: A Retrospective\u003c/em> proves that Chicago has always been making at the highest level.\u003c/p>\n\u003cfigure id=\"attachment_13903325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Framed paintings of gorillas and elephants against a dark purple wall.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/47_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Collected,’ 2015 and ‘Poached,’ 2015–16 from ‘The End: A Meditation on Death and Extinction.’ \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In each body of work (“body” doing double duty here as one of the artist’s primary fixations), Chicago adopts a new mode of making. For \u003ci>Holocaust Project\u003c/i> (1985–93), it’s stained glass and cast glass sculptures; for \u003ci>PowerPlay\u003c/i> (1982–87), it’s monumental figurative paintings on linen; for \u003ci>Birth Project\u003c/i> (1980–85), needlepoint and tapestry. Chicago’s willingness to sketch, test and simply \u003ci>learn\u003c/i> while honing her own skills and an artwork’s final appearance plays out in notebooks across the exhibition. Some projects span as many as eight years. \u003c/p>\n\u003cp>In a series of test plates painted with butterfly imagery and Chicago’s even, lovely script, she writes about learning china-painting in the early 1970s. “I realized that I would have to extract it from its historical context and make it a more flexible technique,” the plate reads. This same sentence might be applied to all of her work. She claims the “feminine arts” (pottery, needlework) and through repetition and painstaking detail, makes their value blatantly obvious. She adopts the “masculine arts” (sculpture, large-scale painting) and renders them in rainbow-hued pastels, emphasizing the toxic, destructive qualities of traditional masculinity. \u003c/p>\n\u003cfigure id=\"attachment_13903323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Five painted plates in a vitrine.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/21_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Butterfly Test Plates,’ 1973–74 at de Young Museum. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an ease in Chicago’s virtuosic jumps from medium to medium that could obscure the hard, long, slow work at the heart of each project, but exhibition curator Claudia Schmuckli and assistant curator Janna Keegan take care to foreground process. That labor is most evident in the de Young’s presentation of \u003ci>The Dinner Party\u003c/i>, Chicago’s best known piece. It is by necessity made up of test plates, cartoons for banners and studies on paper—the actual \u003ci>Dinner Party\u003c/i> lives at the \u003ca href=\"https://www.brooklynmuseum.org/exhibitions/dinner_party/\" rel=\"noopener noreferrer\" target=\"_blank\">Brooklyn Museum\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chicago has said she didn’t know if she’d live long enough to see her career escape from the shadow of \u003ci>The Dinner Party\u003c/i> (1974–79), an installation of 39 commemorative place settings at a triangular table that celebrates over 1,000 important female figures from history. The piece premiered at the San Francisco Museum of Modern Art in 1979 and toured internationally for nine years thanks to grassroots organizing efforts, but it only emerged from storage twice more (in 1996 and 2002) before finding a permanent home at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. Plagued by negative press coverage, attribution controversies and characterization within the House of Representatives as “pornographic art,” \u003ci>The Dinner Party\u003c/i> was for many years Chicago’s greatest accomplishment and greatest albatross. \u003c/p>\n\u003cfigure id=\"attachment_13903327\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200.jpg\" alt=\"Painting of nude man with steering wheel and earth on fire.\" width=\"1200\" height=\"776\" class=\"size-full wp-image-13903327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/10593_Driving_the_World_to_Destruction_1200-768x497.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Judy Chicago, ‘Driving the World to Destruction,’ from the series ‘PowerPlay,’ 1985. \u003ccite>(Courtesy of the artist; Salon 94, New York; and Jessica Silverman, San Francisco; © Judy Chicago / Artists Rights Society (ARS), New York; Photo by Donald Woodman / ARS, NY; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Dinner Party\u003c/i> lies at the heart of the de Young’s retrospective, but it doesn’t dominate the exhibition, in part because that gallery is surrounded by more finished, finalized objects from bodies of work that are just as multifaceted and visually compelling. In the next door “Feminism” gallery, which includes documentation of Chicago’s work establishing feminist art programs, paintings from her \u003ci>Reincarnation Triptych\u003c/i> (1973) glow with inner light, portals through which women from the past might journey into the present.\u003c/p>\n\u003cp>As Chicago’s art shapeshifts in its physicality it elicits different bodily reactions. While the circular, flower-like canvases of the \u003ci>Reincarnation Triptych\u003c/i> beckon, the \u003ci>PowerPlay\u003c/i> paintings purposely overwhelm with their vertical scale and imagery. In them, nude male figures, rippling with shaded muscles, spew violence and destruction onto the natural world. That energy, in turn, is countered by the horizontality of textile pieces like \u003ci>Earth Birth\u003c/i>, which present a feminist take on the traditional landscape. Here, the human figure does not impose upon or overshadow its surroundings, but is one with it, enfolded by the earth and radiating energy outward. \u003c/p>\n\u003cfigure id=\"attachment_13903322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg\" alt=\"Black and white tapestry of woman laying on her side.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13903322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/11_deYoung_JudyChicago_GarySexton_8_26_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Earth Birth,’ 1983 at the de Young Museum. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, (human and animal) bodies are everywhere in the exhibition, rendered in porcelain figurines, eating Shabbat dinner, giving birth and dying. One can’t help but be reminded of one’s own corporeal form throughout—and the permissions and limitations society assigns to us based on how that form is perceived. What \u003ci>Judy Chicago: A Retrospective\u003c/i> does best is what Judy Chicago has done for her entire career: questions inherited value systems, refuses to look away from difficult subjects, and lights the way for all the feminist art to come.\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>‘Judy Chicago: A Retrospective’ is on view at San Francisco’s de Young Museum through Jan. 9, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/judy-chicago\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903317/judy-chicagos-de-young-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2504","arts_10342","arts_10278","arts_1962","arts_769","arts_585"],"featImg":"arts_13903340","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.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://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","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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