Bonnie Ora Sherk’s Eco-Art Experiments Inspire Wonder at Fort Mason
Art to See at the Start of 2023
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
SF Approves In-Person Sundance Festival Screenings at Fort Mason Center
Rashaad Newsome Promises Radical Futurity at Fort Mason
Six Bay Area Art Shows to See in 2020
Fort Mason Hosts an Artist-Made Roller Disco Rink
Radical Ballerina Maya Stovall’s Urban Performances Come to Fort Mason Center
Don't Let its Title Confuse You, 'Playtime' Isn't All Fun and Games
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Sherk was a renegade who spent her life challenging the normal parameters of how humans use — and behave in — urban spaces. Much of Sherk’s most important work was audaciously conceived and performed in 1970s San Francisco. Now, a new exhibit at the Fort Mason Center for Arts & Culture is honoring her legacy and demonstrating how Sherk’s ideas continue to impact the city to this day.\u003c/p>\n\u003cp>[aside postid='arts_13939967']Curated by SFMOMA’s Tanya Zimbardo, \u003cem>\u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Bonnie Ora Sherk: Life Frames Since 1970\u003c/a>\u003c/em> encompasses work Sherk did in both San Francisco and New York. Viewed in one place, the expansive exhibit thoroughly maps Sherk’s transformation from an artist interested in subverting cityscapes into a landscape architect literally building a more egalitarian environment. Sherk was also the founder of Crossroads Community (aka The Farm), a now-legendary community center, art space and, yes, city farm that once stood where \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a> stands now. (It was an empty concrete lot next to the freeway when Sherk found it.)\u003c/p>\n\u003cp>The chronology of \u003cem>Life Frames\u003c/em> allows visitors to follow the through line of Sherk’s concepts in a way that feels perfectly rational — even when her individual pieces sometimes do not. The exhibit opens with four large-scale wall projections, the first of which is a 15-minute loop of photographs from her \u003cem>Sitting Still\u003c/em> series. These feature Sherk sitting in a chair in a variety of locations, including street corners in the Mission, North Beach and the Financial District. The artist sat for an hour at a time, inviting stares, confusion and questions from passersby. She also spent time on the Golden Gate Bridge and, most memorably, inside pens at the San Francisco Zoo.\u003c/p>\n\u003cfigure id=\"attachment_13950464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoo-tree-scaled-e1705455948325.jpg\" alt=\"A woman wearing a dress sits in a chair next to a huge tree inside an animal pen at a zoo.\" width=\"1920\" height=\"1403\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Excerpts From the Sitting Still Series,’ as seen in new exhibit, ‘Bonnie Ora Sherk: Life Frames Since 1970.’ \u003ccite>(Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the last location that started Sherk on her journey to explore animal behavior. She became interested in cohabiting with them — rats, chickens and pigs. She put on performances in which she and the animals observed each other in the same space. She designed self-contained chicken coops (the sketches for which are present in \u003cem>Life Frames\u003c/em>). Before founding The Farm, Sherk also masterminded ways to green-ify urban spaces, moving trees to freeway overpasses, snow to San Francisco hotel exteriors and grass to concrete lots — a precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Guerrilla_gardening\">guerrilla gardening\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tranquil footage of Sherk at The Farm makes sense of anxiety-inducing footage of the artist pacing up and down a 10-foot stretch of the Broadway Tunnel just a few years earlier. It’s not difficult to see why Sherk moved from one to the other and why ecology became her life’s work. The exhibit closes out with a reminder that it was also Sherk who founded the “Living Libraries” and “Think Parks” of \u003ca href=\"https://alivinglibrary.org/branches/bernal-heights\">Bernal Heights\u003c/a> and \u003ca href=\"https://alivinglibrary.org/branches/omiexcelsior\">the Excelsior\u003c/a>. Those projects continue to serve local children and communities in much the same way The Farm once did, even three years after Sherk’s death.\u003c/p>\n\u003cp>\u003cem>Life Frames\u003c/em> is so comprehensive and at times immersive, it’s sometimes easy to forget where you are. That’s not a bad thing. Like so much of what the artist created in life, this exhibit is a place you’ll want to come and sit a while. Give yourself ample time to do so — the world seen through Sherk’s eyes is a beautiful place to be.\u003c/p>\n\u003cfigure id=\"attachment_13950429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20240114_154944-scaled-e1705436011408.jpg\" alt=\"A woman casually sits in an armchair smoking a cigarette in the middle of a flooded parking lot. Urban houses are seen behind her.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Ora Sherk in 1970, as captured in ‘Sitting Still I.’ \u003ccite>(‘Bonnie Ora Sherk: Life Frames Since 1970’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bonnie Ora Sherk: Life Frames Since 1970’ is on display at \u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Gallery 308 at the Fort Mason Center for Arts & Culture\u003c/a>, now through March 10, 2024. The exhibition will close out with a pop-up urban planning symposium.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Bonnie Ora Sherk challenged notions around how humans use urban spaces. Her influence in San Francisco continues today.","status":"publish","parent":0,"modified":1705535419,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":711},"headData":{"title":"Bonnie Ora Sherk’s Life and Work Inspires at Fort Mason | KQED","description":"Bonnie Ora Sherk challenged notions around how humans use urban spaces. Her influence in San Francisco continues today.","ogTitle":"Bonnie Ora Sherk’s Eco-Art Experiments Inspire Wonder at Fort Mason","ogDescription":"","ogImgId":"","twTitle":"Bonnie Ora Sherk’s Eco-Art Experiments Inspire Wonder at Fort Mason","twDescription":"","twImgId":"","socialTitle":"Bonnie Ora Sherk’s Life and Work Inspires at Fort Mason %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bonnie Ora Sherk’s Eco-Art Experiments Inspire Wonder at Fort Mason","datePublished":"2024-01-17T21:14:21.000Z","dateModified":"2024-01-17T23:50:19.000Z","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/13950359/bonnie-ora-sherk-fort-mason-review-life-frames-since-1970","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I dreamt I lived in a triptych — human, plant, animal … the essence of global convergence.”\u003c/p>\n\u003cp>These words, contained in a display case at Fort Mason Center’s Gallery 308, belong to conceptual artist Bonnie Ora Sherk. Sherk was a renegade who spent her life challenging the normal parameters of how humans use — and behave in — urban spaces. Much of Sherk’s most important work was audaciously conceived and performed in 1970s San Francisco. Now, a new exhibit at the Fort Mason Center for Arts & Culture is honoring her legacy and demonstrating how Sherk’s ideas continue to impact the city to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939967","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Curated by SFMOMA’s Tanya Zimbardo, \u003cem>\u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Bonnie Ora Sherk: Life Frames Since 1970\u003c/a>\u003c/em> encompasses work Sherk did in both San Francisco and New York. Viewed in one place, the expansive exhibit thoroughly maps Sherk’s transformation from an artist interested in subverting cityscapes into a landscape architect literally building a more egalitarian environment. Sherk was also the founder of Crossroads Community (aka The Farm), a now-legendary community center, art space and, yes, city farm that once stood where \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a> stands now. (It was an empty concrete lot next to the freeway when Sherk found it.)\u003c/p>\n\u003cp>The chronology of \u003cem>Life Frames\u003c/em> allows visitors to follow the through line of Sherk’s concepts in a way that feels perfectly rational — even when her individual pieces sometimes do not. The exhibit opens with four large-scale wall projections, the first of which is a 15-minute loop of photographs from her \u003cem>Sitting Still\u003c/em> series. These feature Sherk sitting in a chair in a variety of locations, including street corners in the Mission, North Beach and the Financial District. The artist sat for an hour at a time, inviting stares, confusion and questions from passersby. She also spent time on the Golden Gate Bridge and, most memorably, inside pens at the San Francisco Zoo.\u003c/p>\n\u003cfigure id=\"attachment_13950464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoo-tree-scaled-e1705455948325.jpg\" alt=\"A woman wearing a dress sits in a chair next to a huge tree inside an animal pen at a zoo.\" width=\"1920\" height=\"1403\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Excerpts From the Sitting Still Series,’ as seen in new exhibit, ‘Bonnie Ora Sherk: Life Frames Since 1970.’ \u003ccite>(Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the last location that started Sherk on her journey to explore animal behavior. She became interested in cohabiting with them — rats, chickens and pigs. She put on performances in which she and the animals observed each other in the same space. She designed self-contained chicken coops (the sketches for which are present in \u003cem>Life Frames\u003c/em>). Before founding The Farm, Sherk also masterminded ways to green-ify urban spaces, moving trees to freeway overpasses, snow to San Francisco hotel exteriors and grass to concrete lots — a precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Guerrilla_gardening\">guerrilla gardening\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>Tranquil footage of Sherk at The Farm makes sense of anxiety-inducing footage of the artist pacing up and down a 10-foot stretch of the Broadway Tunnel just a few years earlier. It’s not difficult to see why Sherk moved from one to the other and why ecology became her life’s work. The exhibit closes out with a reminder that it was also Sherk who founded the “Living Libraries” and “Think Parks” of \u003ca href=\"https://alivinglibrary.org/branches/bernal-heights\">Bernal Heights\u003c/a> and \u003ca href=\"https://alivinglibrary.org/branches/omiexcelsior\">the Excelsior\u003c/a>. Those projects continue to serve local children and communities in much the same way The Farm once did, even three years after Sherk’s death.\u003c/p>\n\u003cp>\u003cem>Life Frames\u003c/em> is so comprehensive and at times immersive, it’s sometimes easy to forget where you are. That’s not a bad thing. Like so much of what the artist created in life, this exhibit is a place you’ll want to come and sit a while. Give yourself ample time to do so — the world seen through Sherk’s eyes is a beautiful place to be.\u003c/p>\n\u003cfigure id=\"attachment_13950429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20240114_154944-scaled-e1705436011408.jpg\" alt=\"A woman casually sits in an armchair smoking a cigarette in the middle of a flooded parking lot. Urban houses are seen behind her.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Ora Sherk in 1970, as captured in ‘Sitting Still I.’ \u003ccite>(‘Bonnie Ora Sherk: Life Frames Since 1970’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bonnie Ora Sherk: Life Frames Since 1970’ is on display at \u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Gallery 308 at the Fort Mason Center for Arts & Culture\u003c/a>, now through March 10, 2024. The exhibition will close out with a pop-up urban planning symposium.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950359/bonnie-ora-sherk-fort-mason-review-life-frames-since-1970","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_70"],"tags":["arts_10278","arts_2013","arts_769","arts_1146","arts_585","arts_901"],"featImg":"arts_13950434","label":"arts_140"},"arts_13923241":{"type":"posts","id":"arts_13923241","meta":{"index":"posts_1591205157","site":"arts","id":"13923241","score":null,"sort":[1672857049000]},"guestAuthors":[],"slug":"bay-area-visual-art-guide-early-2023","title":"Art to See at the Start of 2023","publishDate":1672857049,"format":"aside","headTitle":"Art to See at the Start of 2023 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I have few predictions to make about the coming year in Bay Area visual arts, which is actually a good thing. Exhibitions and spaces that were backlogged due to the pandemic seem to have cleared their schedules, so there will be less phrases like “long-awaited” and “much-delayed” in my 2023 introductory paragraphs.\u003c/p>\n\u003cp>Looking ahead a few months into the future, there’s plenty of excitement to be had: new spaces, new commissions from local artists and large-scale attention given to pivotal, yet lesser-known figures in visual art. This is a mere sampling of all that’s in store — if you put “see more art” on your list of New Year’s resolutions, you’re in luck.\u003c/p>\n\u003cfigure id=\"attachment_13923137\" class=\"wp-caption aligncenter\" style=\"max-width: 983px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png\" alt=\"Two Asian women in white hold plants and read from strips of paper next to bowl of dry ice\" width=\"983\" height=\"655\" class=\"size-full wp-image-13923137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png 983w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-768x512.png 768w\" sizes=\"(max-width: 983px) 100vw, 983px\">\u003cfigcaption class=\"wp-caption-text\">Gao Ling, photo of ‘Curve Restaurant,’ a site-specific installation and performance, 2017. \u003ccite>(Courtesy of artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.com/\">‘Learning to Land: A Story of Crossing Paths and Intergenerational Histories’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Edge on the Square, 800 Grant Ave., San Francisco\u003cbr>\nJan. 13–May 31\u003c/i>\u003c/p>\n\u003cp>Following up on last year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival\">Neon Was Never Brighter\u003c/a>\u003c/i>, a daylong contemporary arts festival that filled the streets and venues of San Francisco’s Chinatown, the Chinatown Media & Arts Collaborative presents its first exhibition at Edge on the Square (so named for being just up the street from Portsmouth Square). \u003ci>Learning to Land\u003c/i>, organized by Edge on the Square’s head curator Candace Huey, features work from Benjamen Chinn, Gao Ling, Lenore Chinn, Sasinun Kladpetch and Sherwin Rio. In the spirit of crossing paths and meaningful exchange, the show includes a conceptual shop that invites visitors to share their personal experiences of Chinatown in “tangible or intangible forms” (say, a story), which can then be swapped for an item from the shop.\u003c/p>\n\u003cfigure id=\"attachment_13923251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg\" alt=\"Small bundles of light straw tied together against black background\" width=\"800\" height=\"585\" class=\"size-full wp-image-13923251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-768x562.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunny A. Smith, an example of work from ‘The Compass Rose’ at Fort Mason Center for Arts & Culture. \u003ccite>(Courtesy the artist at FMCAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fortmason.org/event/sunny-a-smith-the-compass-rose/\">Sunny A. Smith, ‘The Compass Rose’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 13–March 12\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fort Mason’s Gallery 308 will once again fill with an ambitious installation, this time courtesy of local artist \u003ca href=\"https://sunnyasmith.com/\">Sunny A. Smith\u003c/a>, who utilizes their own family history and the objects passed down through generations to create a new material legacy. \u003ci>The Compass Rose\u003c/i> combines several major new pieces alongside work from the past two decades, highlighting objects made through apprenticeships and collaborations with traditional crafts practitioners. For Smith, the process of learning and making in these old, slower ways becomes an act of repair — directly addressing the trauma their ancestors experienced and their family’s role in this country’s colonial history. But there’s a magical element here as well, with heirlooms recast as instruments of spiritual communication and time travel.\u003c/p>\n\u003cfigure id=\"attachment_13923252\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg\" alt=\"Red-tinged image of electrical box with data readings on screen\" width=\"1706\" height=\"2560\" class=\"size-full wp-image-13923252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Mathew Kneebone, ‘Last Terminal.’ \u003ccite>(Courtesy /)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.slashart.org/through-the-electric-grid-promised-land/\">‘through the electric grid promised land…’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>/ (Slash), San Francisco\u003cbr>\nJan. 14–April 22\u003c/i>\u003c/p>\n\u003cp>When Cloaca Projects \u003ca href=\"https://www.kqed.org/arts/13910857/cloaca-projects-history-ambulatory-kerri-conlon\">closed last April\u003c/a>, it left a shed-sized hole in our Bay Area visual art scene, one that was both welcoming \u003ci>and\u003c/i> experimental, a rare combination in a field that can be as alienating as it is beautiful. Great news: the team behind Cloaca (marcella faustini and Charlie Leese) is curating the first show of the year for / (aka Slash), featuring works by Mathew Kneebone, Most Dismal Swamp and local radio stations. The show’s title comes from a book by the artist Derek Jarman, a narrative about the “power and shortcomings of infrastructures” and their effect on cultural communities. As a bonus, a small accompanying show will open the same day with paintings by \u003ca href=\"https://www.instagram.com/mark_t_duffy/\">Mark T. Duffy\u003c/a>, alongside an exhibition and reading room curated by \u003ca href=\"http://www.pjpolicarpio.net/\">PJ Gubatina Policarpio\u003c/a> in /’s library.\u003c/p>\n\u003cfigure id=\"attachment_13923253\" class=\"wp-caption aligncenter\" style=\"max-width: 1267px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg\" alt=\"Drawing of drag queen in nun's habit with dramatic eye makeup and yellow veil\" width=\"1267\" height=\"1600\" class=\"size-full wp-image-13923253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg 1267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-800x1010.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1020x1288.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-160x202.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-768x970.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1216x1536.jpeg 1216w\" sizes=\"(max-width: 1267px) 100vw, 1267px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Sister Zsa Zsa Glamour,’ 1997; Watercolor, colored pencil, graphite on paper, 20 1/8 x 16 in. \u003ccite>(Courtesy Altman Siegel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beth Van Hoesen, ‘Punks and Sisters’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"http://altmansiegel.com/\">Altman Siegel\u003c/a>, San Francisco\u003cbr>\nJan. 17–Feb. 25\u003c/i>\u003c/p>\n\u003cp>For nearly 50 years, San Francisco artist Beth Van Hoesen lived and worked in the Castro neighborhood, where she hosted a drawing circle for local artists (many now household names) to work from a live model. Today, Van Hoesen, who died in 2010, is primarily known as a printmaker, but she continued her practice of portraiture throughout her career, turning her attention in the ’80s and ’90s to the people of the Castro, including the Sisters of Perpetual Indulgence and the emerging punk scene. These drawings are delicate and precise — almost scientific — renderings of piercings, bold makeup and, sometimes, individual strands of vibrant pink hair.\u003c/p>\n\u003cfigure id=\"attachment_13923254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"974\" class=\"size-full wp-image-13923254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-800x649.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-768x623.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Etel Adnan, ‘Untitled,’ 2010; Oil on canvas. \u003ccite>(Photo by Chris Grunder, San Francisco; Courtesy Anthony Meier, Mill Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.anthonymeier.com/exhibitions/in-the-shadow-of-mt-tam\">‘In the Shadow of Mt. Tam’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anthony Meier, Mill Valley\u003cbr>\nJan. 31–March 17\u003c/i>\u003c/p>\n\u003cp>To mark Anthony Meier’s move from Pacific Heights to Mill Valley, the gallery’s first exhibition in its new location looks to Marin County’s rich artistic history. Spanning the 1940s to the 1970s, the show includes Bay Area favorite Etel Adnan, for whom Mount Tamalpais was a frequent subject and muse. Other artists in the group show include JB Blunk, Jess Collins, Jay DeFeo, Luchita Hurtado, David Ireland and Barbara Stauffacher Solomon. The move doubles the gallery’s square footage, which should yield even more ambitious installations from contemporary artists in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13923255\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg\" alt=\"Doubled image of religious figure, one with insides show, other with Virgin of Guadalupe\" width=\"1200\" height=\"1072\" class=\"size-full wp-image-13923255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-768x686.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, ‘Guadalupe Twins in Venus Envy, Chapter III: Cihuatlampa,’ 1997; Giclee print; 14 x 36 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains, ‘Archaeology of Memory’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nFeb. 4–July 23\u003c/i>\u003c/p>\n\u003cp>Fresh on the heels of their \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles retrospective\u003c/a>, BAMPFA honors yet another worthy living artist with an Amalia Mesa-Bains retrospective, tracing over three decades of the 79-year-old artist’s career as a leading figure of Chicanx art. Featuring several of her well-known “altar-installations,” the show will also include multimedia work, prints and books, along with the premiere of a new short documentary directed by Ray Telles. Throughout her career, Mesa-Bains has made tangible and visible the contributions of women, immigrants and people of color to our collective histories. It’s beyond time that work was gathered in one place for concentrated, well-deserved attention.\u003c/p>\n\u003cfigure id=\"attachment_13923260\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg\" alt=\"Sculpture of arched clay and cage wire with dangling elements, sitting on polka-dot base\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13923260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sew Hoy, ‘Digital Ocean, spawn,’ 2022. \u003ccite>(Courtesy the artist; Photo by Edgar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Work: Anna Sew Hoy’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\nMarch 25–July 16\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Los Angeles artist \u003ca href=\"http://annasewhoy.info/\">Anna Sew Hoy\u003c/a> brings her recent multimedia work to SFMOMA for the museum’s “New Work” series, showing sculptural installations made from clay arches, found metal cages and everyday objects (like keys, denim scraps, device charging cables). The resulting artworks look like beautifully chaotic enrichment environments for animals in dire need of stimulation, which is perhaps a fitting description for the state of humanity these days.\u003c/p>\n\n","blocks":[],"excerpt":"If you put ‘more art’ on your list of resolutions, Bay Area galleries and museums have you covered.","status":"publish","parent":0,"modified":1705006014,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1208},"headData":{"title":"Your Bay Area Visual Art Guide for Early 2023 | KQED","description":"If you put ‘more art’ on your list of resolutions, Bay Area galleries and museums have you covered.","ogTitle":"Bay Area Art to See at the Start of 2023","ogDescription":"","ogImgId":"","twTitle":"Bay Area Art to See at the Start of 2023","twDescription":"","twImgId":"","socialTitle":"Your Bay Area Visual Art Guide for Early 2023 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art to See at the Start of 2023","datePublished":"2023-01-04T18:30:49.000Z","dateModified":"2024-01-11T20:46:54.000Z","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/13923241/bay-area-visual-art-guide-early-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have few predictions to make about the coming year in Bay Area visual arts, which is actually a good thing. Exhibitions and spaces that were backlogged due to the pandemic seem to have cleared their schedules, so there will be less phrases like “long-awaited” and “much-delayed” in my 2023 introductory paragraphs.\u003c/p>\n\u003cp>Looking ahead a few months into the future, there’s plenty of excitement to be had: new spaces, new commissions from local artists and large-scale attention given to pivotal, yet lesser-known figures in visual art. This is a mere sampling of all that’s in store — if you put “see more art” on your list of New Year’s resolutions, you’re in luck.\u003c/p>\n\u003cfigure id=\"attachment_13923137\" class=\"wp-caption aligncenter\" style=\"max-width: 983px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png\" alt=\"Two Asian women in white hold plants and read from strips of paper next to bowl of dry ice\" width=\"983\" height=\"655\" class=\"size-full wp-image-13923137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant.png 983w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GaoLing_CurveRestaurant-768x512.png 768w\" sizes=\"(max-width: 983px) 100vw, 983px\">\u003cfigcaption class=\"wp-caption-text\">Gao Ling, photo of ‘Curve Restaurant,’ a site-specific installation and performance, 2017. \u003ccite>(Courtesy of artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.com/\">‘Learning to Land: A Story of Crossing Paths and Intergenerational Histories’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Edge on the Square, 800 Grant Ave., San Francisco\u003cbr>\nJan. 13–May 31\u003c/i>\u003c/p>\n\u003cp>Following up on last year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival\">Neon Was Never Brighter\u003c/a>\u003c/i>, a daylong contemporary arts festival that filled the streets and venues of San Francisco’s Chinatown, the Chinatown Media & Arts Collaborative presents its first exhibition at Edge on the Square (so named for being just up the street from Portsmouth Square). \u003ci>Learning to Land\u003c/i>, organized by Edge on the Square’s head curator Candace Huey, features work from Benjamen Chinn, Gao Ling, Lenore Chinn, Sasinun Kladpetch and Sherwin Rio. In the spirit of crossing paths and meaningful exchange, the show includes a conceptual shop that invites visitors to share their personal experiences of Chinatown in “tangible or intangible forms” (say, a story), which can then be swapped for an item from the shop.\u003c/p>\n\u003cfigure id=\"attachment_13923251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg\" alt=\"Small bundles of light straw tied together against black background\" width=\"800\" height=\"585\" class=\"size-full wp-image-13923251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/FM_Art_sunny_smith_Witch_Ladder_smallslide-768x562.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunny A. Smith, an example of work from ‘The Compass Rose’ at Fort Mason Center for Arts & Culture. \u003ccite>(Courtesy the artist at FMCAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fortmason.org/event/sunny-a-smith-the-compass-rose/\">Sunny A. Smith, ‘The Compass Rose’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 13–March 12\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fort Mason’s Gallery 308 will once again fill with an ambitious installation, this time courtesy of local artist \u003ca href=\"https://sunnyasmith.com/\">Sunny A. Smith\u003c/a>, who utilizes their own family history and the objects passed down through generations to create a new material legacy. \u003ci>The Compass Rose\u003c/i> combines several major new pieces alongside work from the past two decades, highlighting objects made through apprenticeships and collaborations with traditional crafts practitioners. For Smith, the process of learning and making in these old, slower ways becomes an act of repair — directly addressing the trauma their ancestors experienced and their family’s role in this country’s colonial history. But there’s a magical element here as well, with heirlooms recast as instruments of spiritual communication and time travel.\u003c/p>\n\u003cfigure id=\"attachment_13923252\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg\" alt=\"Red-tinged image of electrical box with data readings on screen\" width=\"1706\" height=\"2560\" class=\"size-full wp-image-13923252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07b_MK_introduction_The-Last-Terminal-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Mathew Kneebone, ‘Last Terminal.’ \u003ccite>(Courtesy /)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.slashart.org/through-the-electric-grid-promised-land/\">‘through the electric grid promised land…’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>/ (Slash), San Francisco\u003cbr>\nJan. 14–April 22\u003c/i>\u003c/p>\n\u003cp>When Cloaca Projects \u003ca href=\"https://www.kqed.org/arts/13910857/cloaca-projects-history-ambulatory-kerri-conlon\">closed last April\u003c/a>, it left a shed-sized hole in our Bay Area visual art scene, one that was both welcoming \u003ci>and\u003c/i> experimental, a rare combination in a field that can be as alienating as it is beautiful. Great news: the team behind Cloaca (marcella faustini and Charlie Leese) is curating the first show of the year for / (aka Slash), featuring works by Mathew Kneebone, Most Dismal Swamp and local radio stations. The show’s title comes from a book by the artist Derek Jarman, a narrative about the “power and shortcomings of infrastructures” and their effect on cultural communities. As a bonus, a small accompanying show will open the same day with paintings by \u003ca href=\"https://www.instagram.com/mark_t_duffy/\">Mark T. Duffy\u003c/a>, alongside an exhibition and reading room curated by \u003ca href=\"http://www.pjpolicarpio.net/\">PJ Gubatina Policarpio\u003c/a> in /’s library.\u003c/p>\n\u003cfigure id=\"attachment_13923253\" class=\"wp-caption aligncenter\" style=\"max-width: 1267px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg\" alt=\"Drawing of drag queen in nun's habit with dramatic eye makeup and yellow veil\" width=\"1267\" height=\"1600\" class=\"size-full wp-image-13923253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5.jpeg 1267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-800x1010.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1020x1288.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-160x202.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-768x970.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/9519dfd67a291a4bf3621c490ab896a5-1216x1536.jpeg 1216w\" sizes=\"(max-width: 1267px) 100vw, 1267px\">\u003cfigcaption class=\"wp-caption-text\">Beth Van Hoesen, ‘Sister Zsa Zsa Glamour,’ 1997; Watercolor, colored pencil, graphite on paper, 20 1/8 x 16 in. \u003ccite>(Courtesy Altman Siegel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Beth Van Hoesen, ‘Punks and Sisters’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"http://altmansiegel.com/\">Altman Siegel\u003c/a>, San Francisco\u003cbr>\nJan. 17–Feb. 25\u003c/i>\u003c/p>\n\u003cp>For nearly 50 years, San Francisco artist Beth Van Hoesen lived and worked in the Castro neighborhood, where she hosted a drawing circle for local artists (many now household names) to work from a live model. Today, Van Hoesen, who died in 2010, is primarily known as a printmaker, but she continued her practice of portraiture throughout her career, turning her attention in the ’80s and ’90s to the people of the Castro, including the Sisters of Perpetual Indulgence and the emerging punk scene. These drawings are delicate and precise — almost scientific — renderings of piercings, bold makeup and, sometimes, individual strands of vibrant pink hair.\u003c/p>\n\u003cfigure id=\"attachment_13923254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"974\" class=\"size-full wp-image-13923254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-800x649.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/07_Etel-Adnan_Untitled_2010_framed-view_1200-768x623.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Etel Adnan, ‘Untitled,’ 2010; Oil on canvas. \u003ccite>(Photo by Chris Grunder, San Francisco; Courtesy Anthony Meier, Mill Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.anthonymeier.com/exhibitions/in-the-shadow-of-mt-tam\">‘In the Shadow of Mt. Tam’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anthony Meier, Mill Valley\u003cbr>\nJan. 31–March 17\u003c/i>\u003c/p>\n\u003cp>To mark Anthony Meier’s move from Pacific Heights to Mill Valley, the gallery’s first exhibition in its new location looks to Marin County’s rich artistic history. Spanning the 1940s to the 1970s, the show includes Bay Area favorite Etel Adnan, for whom Mount Tamalpais was a frequent subject and muse. Other artists in the group show include JB Blunk, Jess Collins, Jay DeFeo, Luchita Hurtado, David Ireland and Barbara Stauffacher Solomon. The move doubles the gallery’s square footage, which should yield even more ambitious installations from contemporary artists in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13923255\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg\" alt=\"Doubled image of religious figure, one with insides show, other with Virgin of Guadalupe\" width=\"1200\" height=\"1072\" class=\"size-full wp-image-13923255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Guadalupe_Twins_28.5x22_1200-768x686.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, ‘Guadalupe Twins in Venus Envy, Chapter III: Cihuatlampa,’ 1997; Giclee print; 14 x 36 in. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains, ‘Archaeology of Memory’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nFeb. 4–July 23\u003c/i>\u003c/p>\n\u003cp>Fresh on the heels of their \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles retrospective\u003c/a>, BAMPFA honors yet another worthy living artist with an Amalia Mesa-Bains retrospective, tracing over three decades of the 79-year-old artist’s career as a leading figure of Chicanx art. Featuring several of her well-known “altar-installations,” the show will also include multimedia work, prints and books, along with the premiere of a new short documentary directed by Ray Telles. Throughout her career, Mesa-Bains has made tangible and visible the contributions of women, immigrants and people of color to our collective histories. It’s beyond time that work was gathered in one place for concentrated, well-deserved attention.\u003c/p>\n\u003cfigure id=\"attachment_13923260\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg\" alt=\"Sculpture of arched clay and cage wire with dangling elements, sitting on polka-dot base\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13923260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/05_Anna-Sew-Hoy_digital-ocean-spawn-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sew Hoy, ‘Digital Ocean, spawn,’ 2022. \u003ccite>(Courtesy the artist; Photo by Edgar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Work: Anna Sew Hoy’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\nMarch 25–July 16\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Los Angeles artist \u003ca href=\"http://annasewhoy.info/\">Anna Sew Hoy\u003c/a> brings her recent multimedia work to SFMOMA for the museum’s “New Work” series, showing sculptural installations made from clay arches, found metal cages and everyday objects (like keys, denim scraps, device charging cables). The resulting artworks look like beautifully chaotic enrichment environments for animals in dire need of stimulation, which is perhaps a fitting description for the state of humanity these days.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923241/bay-area-visual-art-guide-early-2023","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10342","arts_15146","arts_2013","arts_3649","arts_1381","arts_585"],"featImg":"arts_13923253","label":"arts_140"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","datePublished":"2022-06-01T18:12:58.000Z","dateModified":"2024-01-11T20:59:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13890900":{"type":"posts","id":"arts_13890900","meta":{"index":"posts_1591205157","site":"arts","id":"13890900","score":null,"sort":[1610064772000]},"guestAuthors":[],"slug":"sf-approves-in-person-sundance-festival-screenings-at-fort-mason-center","title":"SF Approves In-Person Sundance Festival Screenings at Fort Mason Center","publishDate":1610064772,"format":"standard","headTitle":"SF Approves In-Person Sundance Festival Screenings at Fort Mason Center | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Local audiences can steam the festival online or view it in-person at Fort Mason’s drive-in theater.","status":"publish","parent":0,"modified":1705019678,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":769},"headData":{"title":"SF Approves In-Person Sundance Festival Screenings at Fort Mason Center | KQED","description":"Local audiences can steam the festival online or view it in-person at Fort Mason’s drive-in theater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Approves In-Person Sundance Festival Screenings at Fort Mason Center","datePublished":"2021-01-08T00:12:52.000Z","dateModified":"2024-01-12T00:34:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890900/sf-approves-in-person-sundance-festival-screenings-at-fort-mason-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\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>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890900/sf-approves-in-person-sundance-festival-screenings-at-fort-mason-center","authors":["8608"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_10278","arts_977","arts_2013"],"featImg":"arts_13890902","label":"arts"},"arts_13874364":{"type":"posts","id":"arts_13874364","meta":{"index":"posts_1591205157","site":"arts","id":"13874364","score":null,"sort":[1578009040000]},"guestAuthors":[],"slug":"rashaad-newsome-promises-radical-futurity-at-fort-mason","title":"Rashaad Newsome Promises Radical Futurity at Fort Mason","publishDate":1578009040,"format":"standard","headTitle":"Rashaad Newsome Promises Radical Futurity at Fort Mason | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The preview for Rashaad Newsome’s exhibition \u003ci>To Be Real\u003c/i> actually came to town months ago, in the small screening room of an institution miles away from Fort Mason. The videos \u003cem>STOP PLAYING IN MY FACE!\u003c/em> and \u003cem>ICON\u003c/em>, both still on view at the \u003ca href=\"https://www.moadsf.org/exhibition/rashaad-newsome-stop-playing-in-my-face-and-icon/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>, are electrifying mergers of digital animation, spoken audio clips and pulsing beats. \u003cem>To Be Real\u003c/em> showcases Newsome’s work in other media, including collage, sculpture and an “AI work.” The exhibition draws from a variety of sources—black and queer culture, the internet, advertising—and promises to reflect on “the radical futurity of emerging identities.” \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705021584,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":117},"headData":{"title":"Rashaad Newsome Promises Radical Futurity at Fort Mason | KQED","description":"The preview for Rashaad Newsome’s exhibition To Be Real actually came to town months ago, in the small screening room of an institution miles away from Fort Mason. The videos STOP PLAYING IN MY FACE! and ICON, both still on view at the Museum of the African Diaspora, are electrifying mergers of digital animation, spoken","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rashaad Newsome Promises Radical Futurity at Fort Mason","datePublished":"2020-01-02T23:50:40.000Z","dateModified":"2024-01-12T01:06:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1578646800,"endTime":1582527600,"startTimeString":"Jan. 10–Feb. 23","venueName":"SFAI Main Gallery, Fort Mason Center for Arts & Culture","venueAddress":"2 Marina Blvd., San Francisco","eventLink":"https://fortmason.org/event/newsome/","path":"/arts/13874364/rashaad-newsome-promises-radical-futurity-at-fort-mason","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The preview for Rashaad Newsome’s exhibition \u003ci>To Be Real\u003c/i> actually came to town months ago, in the small screening room of an institution miles away from Fort Mason. The videos \u003cem>STOP PLAYING IN MY FACE!\u003c/em> and \u003cem>ICON\u003c/em>, both still on view at the \u003ca href=\"https://www.moadsf.org/exhibition/rashaad-newsome-stop-playing-in-my-face-and-icon/\" rel=\"noopener noreferrer\" target=\"_blank\">Museum of the African Diaspora\u003c/a>, are electrifying mergers of digital animation, spoken audio clips and pulsing beats. \u003cem>To Be Real\u003c/em> showcases Newsome’s work in other media, including collage, sculpture and an “AI work.” The exhibition draws from a variety of sources—black and queer culture, the internet, advertising—and promises to reflect on “the radical futurity of emerging identities.” \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874364/rashaad-newsome-promises-radical-futurity-at-fort-mason","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_2013","arts_596","arts_1334","arts_901"],"featImg":"arts_13872315","label":"arts_140"},"arts_13872314":{"type":"posts","id":"arts_13872314","meta":{"index":"posts_1591205157","site":"arts","id":"13872314","score":null,"sort":[1578006029000]},"guestAuthors":[],"slug":"five-bay-area-art-shows-to-see-in-2020","title":"Six Bay Area Art Shows to See in 2020","publishDate":1578006029,"format":"standard","headTitle":"Six Bay Area Art Shows to See in 2020 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>2020 sounds like a year from science fiction.\u003c/p>\n\u003cp>If we’re taking our cues from Hollywood, this is a year in which we can expect machine-augmented humans battling aliens, interdimensional sea monsters and other humans (\u003ci>Edge of Tomorrow\u003c/i>, \u003ci>Pacific Rim\u003c/i> and \u003ci>Reel Steel\u003c/i>, respectively). It’s also the temporal setting of \u003ci>A Quiet Place\u003c/i>, which puts two cinematic predictions in the alien invasion bucket, so make of that what you will.\u003c/p>\n\u003cp>Speculative fiction aside, what I know for sure is that local art spaces have big plans for 2020, some of which are quickly approaching in the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13872315\" class=\"wp-caption aligncenter\" style=\"max-width: 803px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/r_newsome_be_real_smallslide.jpg\" alt=\"\" width=\"803\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-768x547.jpg 768w\" sizes=\"(max-width: 803px) 100vw, 803px\">\u003cfigcaption class=\"wp-caption-text\">Rashaad Newsome, Installation view of ‘To Be Real’ at Philadelphia Photo Arts Center, 2019. \u003ccite>(Courtesy of Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rashaad Newsome, ‘\u003ca href=\"https://fortmason.org/event/newsome/\" target=\"_blank\" rel=\"noopener noreferrer\">To Be Real\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 10–Feb. 23\u003cbr>\nSFAI Main Gallery, Fort Mason Center for Arts & Culture, San Francisco\u003c/i>\u003c/p>\n\u003cp>The preview for Rashaad Newsome’s upcoming exhibition actually came to town months ago, in the small screening room of an institution miles away from Fort Mason. The videos \u003ci>STOP PLAYING IN MY FACE!\u003c/i> and \u003ci>ICON\u003c/i>, both still on view at the \u003ca href=\"https://www.moadsf.org/exhibition/rashaad-newsome-stop-playing-in-my-face-and-icon/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a>, are electrifying mergers of digital animation, spoken audio clips and pulsing beats. \u003ci>To Be Real\u003c/i> showcases Newsome’s work in other media, including collage, sculpture and an “AI work.” The exhibition draws from a variety of sources—black and queer culture, the internet, advertising—and promises to reflect on “the radical futurity of emerging identities.” Also! Special performances of Newsome’s piece \u003ci>\u003ca href=\"https://fortmason.org/event/newsome-running/\" target=\"_blank\" rel=\"noopener noreferrer\">Running\u003c/a>\u003c/i>, featuring live vocalists and samples from well-known singers, add a musical dimension to the satellite programming of the approaching \u003ca href=\"https://untitledartfairs.com/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Untitled\u003c/a> and \u003ca href=\"https://www.fogfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOG\u003c/a> art fairs.\u003c/p>\n\u003cfigure id=\"attachment_13872319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, ‘Handsome Drifter,’ 2015. \u003ccite>(Courtesy of the artist and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ron Nagle, ‘\u003ca href=\"https://bampfa.org/program/ron-nagle-handsome-drifter\" target=\"_blank\" rel=\"noopener noreferrer\">Handsome Drifter\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–June 14\u003cbr>\nBerkeley Art Museum and Pacific Film Archive, Berkeley\u003c/i>\u003c/p>\n\u003cp>The question here isn’t how many of Ron Nagle’s exquisitely crafted, small-scale sculptures can fit within BAMPFA’s galleries (so many!), but how many Nagle sculptures one human brain can handle. Each of his pieces—a combination, in recent years, of ceramics and other materials—exists as a perfectly considered balance of glossy and textured, organic and rigid, sensuous and silly. Parts of Nagle’s sculptures “look like” a number of things, but nothing so much as alien objects shaped by a wonderfully strange and pun-obsessed mind (please see his titles). Plan your visit wisely, you may need time to recover from an overload of aesthetic pleasure afterwards.\u003c/p>\n\u003cfigure id=\"attachment_13872318\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200.jpg\" alt=\"\" width=\"1200\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-1020x468.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Kaltenbach, ‘OPEN AFTER MY DEATH,’ 1970. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stephen Kaltenbach, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">The Beginning and the End\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 26–May 10\u003cbr>\nJan Shrem and Maria Manetti Shrem Museum of Art, UC Davis\u003c/i>\u003c/p>\n\u003cp>Stephen Kaltenbach is a trickster. The artist behind multiple identities, with many modes of making, he’s the author of a long con that is his own art historical legacy. If you haven’t heard of him, here’s a possible reason: This will be his first solo museum exhibition in the United States in nearly 40 years. Once a promising artist in the New York conceptual scene of the 1960s, Kaltenbach “dropped out,” moved back to California (he studied at UC Davis) and began making work in a very different vein: psychedelic paintings, populist public art, classical-tinged sculpture. But all of this was part of a larger, lifelong project to play with the reception and interpretation of authorship. In a talk given at San Francisco Art Institute in 2011, Kaltenbach explained the strangeness of watching one of his adopted identities develop as an artist—the work had gotten to a place where he was starting to like it.\u003c/p>\n\u003cfigure id=\"attachment_13872321\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/JeanShin_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jean Shin, Detail of ‘Pause,’ installation in progress in artist’s studio. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Shin, ‘Pause’\u003c/h2>\n\u003cp>\u003ci>Feb. 6–May 24\u003cbr>\n\u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>We can’t escape technology (especially here in the Bay Area), and artists have long been grappling with its applications and effects. Yerba Buena Center for the Arts’ ongoing exhibition \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i> highlights both historic and contemporary works that address physical technologies, while the artists in the de Young’s upcoming \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" target=\"_blank\" rel=\"noopener noreferrer\">Uncanny Valley: Being Human in the Age of AI\u003c/a>\u003c/i> look at the invisible algorithms that govern our lives. Across town, in a new commission for the Asian Art Museum, New York artist \u003ca href=\"http://www.jeanshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Shin\u003c/a>’s \u003ci>Pause\u003c/i> assembles an installation from discarded e-waste (cell phones, smartphones, laptops and cables) to evoke the contemplative space of a garden retreat. Through abundance, she makes the environmental and psychic realities of technological progress tangible.\u003c/p>\n\u003cfigure id=\"attachment_13872317\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918.jpg\" alt=\"\" width=\"1320\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-1200x835.jpg 1200w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Preproduction image made by director Sally Potter to help secure funding for the film ‘Orlando,’ spring 1988. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" target=\"_blank\" rel=\"noopener noreferrer\">Orlando\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 7–May 2\u003cbr>\nMcEvoy Foundation for the Arts, San Francisco\u003c/i>\u003c/p>\n\u003cp>Not all celebrities should dabble in curation, but if anyone can helm an exhibition inspired by Virginia Woolf’s 1928 novel \u003ci>Orlando\u003c/i>, it would be Tilda Swinton, who starred in Sally Potter’s adaptation of the book. \u003ci>Orlando\u003c/i>, as a refresher, is the story of a poet who lives for centuries (without aging) and shifts gender along the way. Swinton’s selections address gender fluidity, reject limitations on portraiture and embody the perspective of longevity. This staging of the exhibition will include photographs from the McEvoy Family Collection in addition to pieces commissioned and chosen for the original show at the Aperture Foundation in New York. Will Swinton herself attend the opening? There’s one way to find out.\u003c/p>\n\u003cfigure id=\"attachment_13872322\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872322\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Arose_Detail2.jpg\" alt=\"\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Kira Dominguez Hultgren, ‘Arose,’ 2019. \u003ccite>(Courtesy the artist and San Jose Museum of Quilts & Textiles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kira Dominguez Hultgren, ‘\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">I Was India: Embroidering Exoticism\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>March 4–April 12\u003cbr>\nSan Jose Museum of Quilts & Textiles, San Jose\u003c/i>\u003c/p>\n\u003cp>Using two Punjabi \u003cem>phulkaris\u003c/em> embroidered by a relative around 1925 as a starting point, Bay Area artist Kira Dominguez Hultgren traces themes of colonialism, contemporary exoticism and craft. Her woven work, large-scale and vibrant, incorporates a variety of textures and materials, including climbing rope, wool, Indian cotton and Chinese silk. If you can’t wait until March to see her work in person, \u003ca href=\"http://eleanorharwood.com/exhibitions/kira-dominguez-hultgren-solo-exhibition/\" target=\"_blank\" rel=\"noopener noreferrer\">her solo show\u003c/a> at Eleanor Harwood Gallery opens Jan. 11.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The first few months of the year are jam-packed with visual arts programming well worth your viewing time.","status":"publish","parent":0,"modified":1705021586,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1091},"headData":{"title":"Six Bay Area Art Shows to See in 2020 | KQED","description":"The first few months of the year are jam-packed with visual arts programming well worth your viewing time.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Six Bay Area Art Shows to See in 2020","datePublished":"2020-01-02T23:00:29.000Z","dateModified":"2024-01-12T01:06:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13872314/five-bay-area-art-shows-to-see-in-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 sounds like a year from science fiction.\u003c/p>\n\u003cp>If we’re taking our cues from Hollywood, this is a year in which we can expect machine-augmented humans battling aliens, interdimensional sea monsters and other humans (\u003ci>Edge of Tomorrow\u003c/i>, \u003ci>Pacific Rim\u003c/i> and \u003ci>Reel Steel\u003c/i>, respectively). It’s also the temporal setting of \u003ci>A Quiet Place\u003c/i>, which puts two cinematic predictions in the alien invasion bucket, so make of that what you will.\u003c/p>\n\u003cp>Speculative fiction aside, what I know for sure is that local art spaces have big plans for 2020, some of which are quickly approaching in the months ahead.\u003c/p>\n\u003cfigure id=\"attachment_13872315\" class=\"wp-caption aligncenter\" style=\"max-width: 803px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/r_newsome_be_real_smallslide.jpg\" alt=\"\" width=\"803\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/r_newsome_be_real_smallslide-768x547.jpg 768w\" sizes=\"(max-width: 803px) 100vw, 803px\">\u003cfigcaption class=\"wp-caption-text\">Rashaad Newsome, Installation view of ‘To Be Real’ at Philadelphia Photo Arts Center, 2019. \u003ccite>(Courtesy of Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rashaad Newsome, ‘\u003ca href=\"https://fortmason.org/event/newsome/\" target=\"_blank\" rel=\"noopener noreferrer\">To Be Real\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 10–Feb. 23\u003cbr>\nSFAI Main Gallery, Fort Mason Center for Arts & Culture, San Francisco\u003c/i>\u003c/p>\n\u003cp>The preview for Rashaad Newsome’s upcoming exhibition actually came to town months ago, in the small screening room of an institution miles away from Fort Mason. The videos \u003ci>STOP PLAYING IN MY FACE!\u003c/i> and \u003ci>ICON\u003c/i>, both still on view at the \u003ca href=\"https://www.moadsf.org/exhibition/rashaad-newsome-stop-playing-in-my-face-and-icon/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a>, are electrifying mergers of digital animation, spoken audio clips and pulsing beats. \u003ci>To Be Real\u003c/i> showcases Newsome’s work in other media, including collage, sculpture and an “AI work.” The exhibition draws from a variety of sources—black and queer culture, the internet, advertising—and promises to reflect on “the radical futurity of emerging identities.” Also! Special performances of Newsome’s piece \u003ci>\u003ca href=\"https://fortmason.org/event/newsome-running/\" target=\"_blank\" rel=\"noopener noreferrer\">Running\u003c/a>\u003c/i>, featuring live vocalists and samples from well-known singers, add a musical dimension to the satellite programming of the approaching \u003ca href=\"https://untitledartfairs.com/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Untitled\u003c/a> and \u003ca href=\"https://www.fogfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOG\u003c/a> art fairs.\u003c/p>\n\u003cfigure id=\"attachment_13872319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/22_Handsome-Drifter_2015_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, ‘Handsome Drifter,’ 2015. \u003ccite>(Courtesy of the artist and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ron Nagle, ‘\u003ca href=\"https://bampfa.org/program/ron-nagle-handsome-drifter\" target=\"_blank\" rel=\"noopener noreferrer\">Handsome Drifter\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 15–June 14\u003cbr>\nBerkeley Art Museum and Pacific Film Archive, Berkeley\u003c/i>\u003c/p>\n\u003cp>The question here isn’t how many of Ron Nagle’s exquisitely crafted, small-scale sculptures can fit within BAMPFA’s galleries (so many!), but how many Nagle sculptures one human brain can handle. Each of his pieces—a combination, in recent years, of ceramics and other materials—exists as a perfectly considered balance of glossy and textured, organic and rigid, sensuous and silly. Parts of Nagle’s sculptures “look like” a number of things, but nothing so much as alien objects shaped by a wonderfully strange and pun-obsessed mind (please see his titles). Plan your visit wisely, you may need time to recover from an overload of aesthetic pleasure afterwards.\u003c/p>\n\u003cfigure id=\"attachment_13872318\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200.jpg\" alt=\"\" width=\"1200\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/OPEN-AFTER-MY-DEATH_TC_Kaltenbach_1200-1020x468.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Kaltenbach, ‘OPEN AFTER MY DEATH,’ 1970. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stephen Kaltenbach, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">The Beginning and the End\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Jan. 26–May 10\u003cbr>\nJan Shrem and Maria Manetti Shrem Museum of Art, UC Davis\u003c/i>\u003c/p>\n\u003cp>Stephen Kaltenbach is a trickster. The artist behind multiple identities, with many modes of making, he’s the author of a long con that is his own art historical legacy. If you haven’t heard of him, here’s a possible reason: This will be his first solo museum exhibition in the United States in nearly 40 years. Once a promising artist in the New York conceptual scene of the 1960s, Kaltenbach “dropped out,” moved back to California (he studied at UC Davis) and began making work in a very different vein: psychedelic paintings, populist public art, classical-tinged sculpture. But all of this was part of a larger, lifelong project to play with the reception and interpretation of authorship. In a talk given at San Francisco Art Institute in 2011, Kaltenbach explained the strangeness of watching one of his adopted identities develop as an artist—the work had gotten to a place where he was starting to like it.\u003c/p>\n\u003cfigure id=\"attachment_13872321\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/JeanShin_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/JeanShin_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jean Shin, Detail of ‘Pause,’ installation in progress in artist’s studio. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Shin, ‘Pause’\u003c/h2>\n\u003cp>\u003ci>Feb. 6–May 24\u003cbr>\n\u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>We can’t escape technology (especially here in the Bay Area), and artists have long been grappling with its applications and effects. Yerba Buena Center for the Arts’ ongoing exhibition \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i> highlights both historic and contemporary works that address physical technologies, while the artists in the de Young’s upcoming \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" target=\"_blank\" rel=\"noopener noreferrer\">Uncanny Valley: Being Human in the Age of AI\u003c/a>\u003c/i> look at the invisible algorithms that govern our lives. Across town, in a new commission for the Asian Art Museum, New York artist \u003ca href=\"http://www.jeanshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Shin\u003c/a>’s \u003ci>Pause\u003c/i> assembles an installation from discarded e-waste (cell phones, smartphones, laptops and cables) to evoke the contemplative space of a garden retreat. Through abundance, she makes the environmental and psychic realities of technological progress tangible.\u003c/p>\n\u003cfigure id=\"attachment_13872317\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918.jpg\" alt=\"\" width=\"1320\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/07-EX-SP20-OR-Gallery-1320x918-1200x835.jpg 1200w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Preproduction image made by director Sally Potter to help secure funding for the film ‘Orlando,’ spring 1988. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" target=\"_blank\" rel=\"noopener noreferrer\">Orlando\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 7–May 2\u003cbr>\nMcEvoy Foundation for the Arts, San Francisco\u003c/i>\u003c/p>\n\u003cp>Not all celebrities should dabble in curation, but if anyone can helm an exhibition inspired by Virginia Woolf’s 1928 novel \u003ci>Orlando\u003c/i>, it would be Tilda Swinton, who starred in Sally Potter’s adaptation of the book. \u003ci>Orlando\u003c/i>, as a refresher, is the story of a poet who lives for centuries (without aging) and shifts gender along the way. Swinton’s selections address gender fluidity, reject limitations on portraiture and embody the perspective of longevity. This staging of the exhibition will include photographs from the McEvoy Family Collection in addition to pieces commissioned and chosen for the original show at the Aperture Foundation in New York. Will Swinton herself attend the opening? There’s one way to find out.\u003c/p>\n\u003cfigure id=\"attachment_13872322\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872322\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Arose_Detail2.jpg\" alt=\"\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Arose_Detail2-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Kira Dominguez Hultgren, ‘Arose,’ 2019. \u003ccite>(Courtesy the artist and San Jose Museum of Quilts & Textiles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kira Dominguez Hultgren, ‘\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">I Was India: Embroidering Exoticism\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>March 4–April 12\u003cbr>\nSan Jose Museum of Quilts & Textiles, San Jose\u003c/i>\u003c/p>\n\u003cp>Using two Punjabi \u003cem>phulkaris\u003c/em> embroidered by a relative around 1925 as a starting point, Bay Area artist Kira Dominguez Hultgren traces themes of colonialism, contemporary exoticism and craft. Her woven work, large-scale and vibrant, incorporates a variety of textures and materials, including climbing rope, wool, Indian cotton and Chinese silk. If you can’t wait until March to see her work in person, \u003ca href=\"http://eleanorharwood.com/exhibitions/kira-dominguez-hultgren-solo-exhibition/\" target=\"_blank\" rel=\"noopener noreferrer\">her solo show\u003c/a> at Eleanor Harwood Gallery opens Jan. 11.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872314/five-bay-area-art-shows-to-see-in-2020","authors":["61"],"categories":["arts_70"],"tags":["arts_9535","arts_2250","arts_2227","arts_1118","arts_2013","arts_1006","arts_596","arts_4606"],"featImg":"arts_13872320","label":"arts"},"arts_13865064":{"type":"posts","id":"arts_13865064","meta":{"index":"posts_1591205157","site":"arts","id":"13865064","score":null,"sort":[1564270929000]},"guestAuthors":[],"slug":"fort-mason-hosts-an-artist-made-roller-disco-rink","title":"Fort Mason Hosts an Artist-Made Roller Disco Rink","publishDate":1564270929,"format":"standard","headTitle":"Fort Mason Hosts an Artist-Made Roller Disco Rink | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Can roller skating bring people together during polarizing times? That’s the hope behind \u003ci>actions vent ascending frequencies\u003c/i>, the latest incarnation of a 2004 project by assume vivid astro focus (the alias of New York artist Eli Sudbrack). A psychedelic-tinged outdoor roller-skating rink with a DJ booth at its center turns the Fort Mason parking lot into a platform for both free public skating and programming organized by the Church of 8 Wheels and Bay Area Derby. No quads of your own? The Church provides rentals for just $5. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Can roller skating bring people together during polarizing times? assume vivid astro focus hopes so.","status":"publish","parent":0,"modified":1705022459,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":97},"headData":{"title":"Fort Mason Hosts an Artist-Made Roller Disco Rink | KQED","description":"Can roller skating bring people together during polarizing times? assume vivid astro focus hopes so.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fort Mason Hosts an Artist-Made Roller Disco Rink","datePublished":"2019-07-27T23:42:09.000Z","dateModified":"2024-01-12T01:20:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1568361600,"endTime":1570428000,"startTimeString":"Sept. 13–Oct. 6","venueName":"Fort Mason Center for Arts & Culture","eventLink":"https://fortmason.org/event/avaf/","path":"/arts/13865064/fort-mason-hosts-an-artist-made-roller-disco-rink","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can roller skating bring people together during polarizing times? That’s the hope behind \u003ci>actions vent ascending frequencies\u003c/i>, the latest incarnation of a 2004 project by assume vivid astro focus (the alias of New York artist Eli Sudbrack). A psychedelic-tinged outdoor roller-skating rink with a DJ booth at its center turns the Fort Mason parking lot into a platform for both free public skating and programming organized by the Church of 8 Wheels and Bay Area Derby. No quads of your own? The Church provides rentals for just $5. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865064/fort-mason-hosts-an-artist-made-roller-disco-rink","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3978","arts_2013","arts_7679","arts_752"],"featImg":"arts_13865070","label":"arts_140"},"arts_13853775":{"type":"posts","id":"arts_13853775","meta":{"index":"posts_1591205157","site":"arts","id":"13853775","score":null,"sort":[1553648184000]},"guestAuthors":[],"slug":"radical-ballerina-maya-stovalls-urban-performances-come-to-fort-mason-center","title":"Radical Ballerina Maya Stovall’s Urban Performances Come to Fort Mason Center","publishDate":1553648184,"format":"standard","headTitle":"Radical Ballerina Maya Stovall’s Urban Performances Come to Fort Mason Center | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The KQED Arts team has been thinking about the choreography of city life a lot lately (the second season of our video series \u003ci>\u003ca href=\"https://www.kqed.org/arts/13853759/if-cities-could-dance-minneapolis\" rel=\"noopener\" target=\"_blank\">If Cities Could Dance\u003c/a>\u003c/i> launches today). But Detroit-born artist \u003ca href=\"https://mayastovall.com/home.html\" rel=\"noopener\" target=\"_blank\">Maya Stovall\u003c/a> has actually written an entire anthropology dissertation on the topic. \u003c/p>\n\u003cp>Her practice, which often manifests as unannounced dance performances in public spaces, considers those spaces—and the people who use them—through movement, in face-to-face interactions and over spans of time. For Stovall, these performances are a spatiotemporal way of getting to know a place, which is then documented in video, soundtracked with electronic music and presented to audiences like you. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://fortmason.org/event/maya-stovall/\" rel=\"noopener\" target=\"_blank\">Under New Ownership\u003c/a>\u003c/i>, running March 29–May 5 at the San Francisco Art Institute’s Fort Mason Center campus, exhibits performance videos from Stovall’s ongoing \u003ci>Liquor Store Theatre\u003c/i> series: dances and interviews filmed at liquor stores in the McDougall-Hunt neighborhood of Detroit. Also on view is her similarly formatted video series \u003ci>The Public Library\u003c/i>, created in 2018 while at a residency in Saskatoon, Canada. (Stovall describes the project as “a meditation on city life and crystal methamphetamine markets.”)\u003c/p>\n\u003cp>The show, a co-presentation by SFAI and the Fort Mason Center for Arts & Culture, culminates with a May 3 performance of a newly commissioned piece called \u003ci>Theorem, no.2\u003c/i>. The exhibition’s press release promises a group of artists will “spin a bizarre world within a world that’s already there,” which is a different and welcome way of describing how art can insert itself into the ritual movements of everyday life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A video exhibition of the artist and anthropologist's performances (and a few sculptures) opens March 29 and culminates in a live event on May 3. ","status":"publish","parent":0,"modified":1705026425,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":275},"headData":{"title":"Radical Ballerina Maya Stovall’s Urban Performances Come to Fort Mason Center | KQED","description":"A video exhibition of the artist and anthropologist's performances (and a few sculptures) opens March 29 and culminates in a live event on May 3. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Radical Ballerina Maya Stovall’s Urban Performances Come to Fort Mason Center","datePublished":"2019-03-27T00:56:24.000Z","dateModified":"2024-01-12T02:27:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13853775/radical-ballerina-maya-stovalls-urban-performances-come-to-fort-mason-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The KQED Arts team has been thinking about the choreography of city life a lot lately (the second season of our video series \u003ci>\u003ca href=\"https://www.kqed.org/arts/13853759/if-cities-could-dance-minneapolis\" rel=\"noopener\" target=\"_blank\">If Cities Could Dance\u003c/a>\u003c/i> launches today). But Detroit-born artist \u003ca href=\"https://mayastovall.com/home.html\" rel=\"noopener\" target=\"_blank\">Maya Stovall\u003c/a> has actually written an entire anthropology dissertation on the topic. \u003c/p>\n\u003cp>Her practice, which often manifests as unannounced dance performances in public spaces, considers those spaces—and the people who use them—through movement, in face-to-face interactions and over spans of time. For Stovall, these performances are a spatiotemporal way of getting to know a place, which is then documented in video, soundtracked with electronic music and presented to audiences like you. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://fortmason.org/event/maya-stovall/\" rel=\"noopener\" target=\"_blank\">Under New Ownership\u003c/a>\u003c/i>, running March 29–May 5 at the San Francisco Art Institute’s Fort Mason Center campus, exhibits performance videos from Stovall’s ongoing \u003ci>Liquor Store Theatre\u003c/i> series: dances and interviews filmed at liquor stores in the McDougall-Hunt neighborhood of Detroit. Also on view is her similarly formatted video series \u003ci>The Public Library\u003c/i>, created in 2018 while at a residency in Saskatoon, Canada. (Stovall describes the project as “a meditation on city life and crystal methamphetamine markets.”)\u003c/p>\n\u003cp>The show, a co-presentation by SFAI and the Fort Mason Center for Arts & Culture, culminates with a May 3 performance of a newly commissioned piece called \u003ci>Theorem, no.2\u003c/i>. The exhibition’s press release promises a group of artists will “spin a bizarre world within a world that’s already there,” which is a different and welcome way of describing how art can insert itself into the ritual movements of everyday life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853775/radical-ballerina-maya-stovalls-urban-performances-come-to-fort-mason-center","authors":["61"],"programs":["arts_140"],"categories":["arts_966","arts_70"],"tags":["arts_2013","arts_1006","arts_596","arts_3992","arts_1334"],"featImg":"arts_13853778","label":"arts_140"},"arts_13817198":{"type":"posts","id":"arts_13817198","meta":{"index":"posts_1591205157","site":"arts","id":"13817198","score":null,"sort":[1513119638000]},"guestAuthors":[],"slug":"dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games","title":"Don't Let its Title Confuse You, 'Playtime' Isn't All Fun and Games","publishDate":1513119638,"format":"image","headTitle":"Don’t Let its Title Confuse You, ‘Playtime’ Isn’t All Fun and Games | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Isaac Julien’s \u003ca href=\"https://fortmason.org/event/playtime/\" target=\"_blank\" rel=\"noopener\">\u003ci>Playtime\u003c/i>\u003c/a>, an exhibition of the British video artist’s work at Fort Mason Center for Arts and Culture, is deceptively dense.\u003c/p>\n\u003cp>The installations are minimal enough — three sites scattered across the campus consisting of varying types of screens. But the images, dialogue, references and ideas projected upon those screens make \u003ci>Playtime\u003c/i> far more sobering than its lighthearted title suggests.\u003c/p>\n\u003cp>Let me begin with a few suggestions for visiting \u003ci>Playtime\u003c/i>. If you’re a completist, plan for two-and-a-half hours of solid video viewing time. Pack a few snacks (to be consumed between installations) and some tissues, if you’re quick to tear up. Bring a buddy — someone who might enjoy a post-viewing discussion of wide-ranging and big-picture concepts like capitalism, labor and the global art market. I’ll take the liberty of suggesting a particular viewing sequence, which also happens to be the order in which the works were made: \u003ci>Better Life (Ten Thousand Waves)\u003c/i>, \u003ci>KAPITAL\u003c/i> and finally, the titular \u003ci>Playtime\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13817271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817271\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200.jpg\" alt=\"Installation view of Isaac Julien, 'Better Life,' 2010 in Gray Box Gallery, San Francisco Art Institute - Fort Mason Campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isaac Julien, ‘Better Life,’ 2010 in Gray Box Gallery, San Francisco Art Institute – Fort Mason Campus. \u003ccite>(Fort Mason Center for Arts & Culture / JKA Photgraphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ready? We begin in the San Francisco Art Institute’s Gray Box Gallery on Pier 2, part of the school’s \u003ca href=\"http://www.sfai.edu/about-sfai/facilities/pier-2\" target=\"_blank\" rel=\"noopener\">newly opened Fort Mason expansion\u003c/a>. The single-screen, 55-minute video mixes found footage with reenactments to tell a heartbreaking story of cultural dislocation and loss, all spurred by a timeless search for a better life.\u003c/p>\n\u003cp>The contemporary example of this quest (and its accompanying danger) comes from the \u003ca href=\"https://en.wikipedia.org/wiki/2004_Morecambe_Bay_cockling_disaster\" target=\"_blank\" rel=\"noopener\">2004 Morecombe Bay disaster\u003c/a>, in which 23 Chinese men and women, hired to pick cockles (edible clams) off the northwest coast of England, died in the rising tide, unable to understand warnings from English-speaking locals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Additional historical and fictional references in \u003ci>Better Life\u003c/i> make Morecombe Bay one in a long line of tragedies, but without lessening the contemporary event’s emotional impact. In one sequence, actress Maggie Cheung floats over 15th-century fishermen in the Fujian Province (home to the 23 Chinese cockle-pickers) as the goddess Mazu, mythical protector of seafarers. In another, actress Zhao Tao reenacts the making of \u003ca href=\"https://en.wikipedia.org/wiki/The_Goddess_(1934_film)\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goddess\u003c/i>\u003c/a>, a 1934 silent film starring \u003ca href=\"https://en.wikipedia.org/wiki/Ruan_Lingyu\" target=\"_blank\" rel=\"noopener\">Ruan Lingyu\u003c/a> as a Shanghai prostitute struggling to support her child. (A not-insignificant side note: Cheung played Ruan in Stanley Kwan’s 1992 film \u003ca href=\"https://en.wikipedia.org/wiki/Centre_Stage_(1992_film)\" target=\"_blank\" rel=\"noopener\">\u003ci>Centre Stage\u003c/i>\u003c/a>, reigniting interest in the silent film actress’ career and death by suicide at age 24.)\u003c/p>\n\u003cfigure id=\"attachment_13817274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817274\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200.jpg\" alt=\"Installation view of Isaac Julien, 'KAPITAL,' 2013 in SFMOMA Artists Gallery.\" width=\"1200\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-520x333.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isaac Julien, ‘KAPITAL,’ 2013 in SFMOMA Artists Gallery. \u003ccite>(Fort Mason Center for Arts & Culture / JKA Photgraphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julien loves to expose the inner workings of his video pieces, making visible both the mechanisms of their production and the people operating those mechanisms. Zhao’s scenes clearly take place on a set of old Shanghai; the camera crew tracking her trolley rides is included in some of the shots. After she floats over the stunning Fujian landscape, we see Cheung suspended before a green screen, wires, fans and backstage workers all laboring within the frame.\u003c/p>\n\u003cp>If \u003ci>Better Life\u003c/i> leaves you feeling bereft, the view from Fort Mason across the Bay will help a bit, though it may also remind you of the cockle-pickers. Restored? The short walk between Pier 2 and the SFMOMA Artists Gallery is a great time to nosh on a snack.\u003c/p>\n\u003cp>Here, instead of a dark screening room, a white-walled gallery sports circular photographic prints (a nod to Renaissance tondos) featuring props and people from \u003ci>Playtime\u003c/i>. The 31-minute \u003ci>KAPITAL\u003c/i> plays on two monitors, laying bare (once again) Julien’s deep engagement with the topics explored visually and narratively in the exhibition’s pièce de résistance. Interspersed with clips from \u003ci>Wall Street\u003c/i> and \u003ci>Dealers\u003c/i>, Marx scholar \u003ca href=\"http://davidharvey.org/\" target=\"_blank\" rel=\"noopener\">David Harvey\u003c/a> weighs in on capital and the (timely) fallacy of tax cuts for the rich. There’s a belief, he says, that when the rich have more money they invest and create jobs. “They don’t!” Harvey says. “They invest in art.”\u003c/p>\n\u003cfigure id=\"attachment_13817272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817272\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200.jpg\" alt=\"Isaac Julien, 'Eclipse (Playtime),' 2013.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien, ‘Eclipse (Playtime),’ 2013. \u003ccite>(Copyright the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This provides a wonderful moment in our tour to consider how \u003ci>Playtime\u003c/i> (the exhibition) arrived at Fort Mason Center. Loaned to the campus by the Kramlich Collection (previously responsible for the joy that was Janet Cardiff’s \u003ca href=\"https://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">\u003ci>Forty Part Motet\u003c/i>\u003c/a>, a collaboration with SFMOMA), \u003ci>Playtime\u003c/i> (the video) was also made with financial support from the Kramlichs. In one scene in the seven-channel, 67-minute result of that support, James Franco directly addresses the camera with a smirk: “Who knows, maybe even video art will bring in a healthy sum to the next eagle-eyed investor of today.”\u003c/p>\n\u003cp>After Harvey’s sobering take on the speeding-up and ever-more-disparate global economy (“capitalism cannot function without debt,” he says), the five scenes within Julien’s \u003ci>Playtime\u003c/i> perform the tricky task of seducing the viewer while simultaneously making her skin crawl. Be it through scenes of a London hedge fund, Franco’s art-collecting advice, a post-collapse Reykjavik, Maggie Cheung interviewing art auctioneer Simon de Pury, or a Filipina house worker in Dubai, Julien beautifully illustrates the global, often bewildering movement of money, people and information.\u003c/p>\n\u003cp>The most playful aspect of \u003ci>Playtime\u003c/i> (the video) may be its lack of seating options, leaving those with a desire to watch the entire loop the options of strolling through a maze of gigantic screens, or splaying out on the plush, ultramarine blue carpet covering Gallery 308 (imported from France!).\u003c/p>\n\u003cp>It’s a lot — to take in, to sit through, to mull over afterwards. But you have snacks and a friend, right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Playtime’ is on view at San Francisco’s Fort Mason Center for Arts & Culture through Feb. 11, 2018. Admission is free, no reservations required. For more information, \u003ca href=\"https://fortmason.org/event/playtime/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Isaac Julien's Fort Mason exhibition of three video installations weaves stories of labor, immigration, capital and the global economy into dense viewing experiences.","status":"publish","parent":0,"modified":1705028924,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1021},"headData":{"title":"Don't Let its Title Confuse You, 'Playtime' Isn't All Fun and Games | KQED","description":"Isaac Julien's Fort Mason exhibition of three video installations weaves stories of labor, immigration, capital and the global economy into dense viewing experiences.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Don't Let its Title Confuse You, 'Playtime' Isn't All Fun and Games","datePublished":"2017-12-12T23:00:38.000Z","dateModified":"2024-01-12T03:08:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817198/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Isaac Julien’s \u003ca href=\"https://fortmason.org/event/playtime/\" target=\"_blank\" rel=\"noopener\">\u003ci>Playtime\u003c/i>\u003c/a>, an exhibition of the British video artist’s work at Fort Mason Center for Arts and Culture, is deceptively dense.\u003c/p>\n\u003cp>The installations are minimal enough — three sites scattered across the campus consisting of varying types of screens. But the images, dialogue, references and ideas projected upon those screens make \u003ci>Playtime\u003c/i> far more sobering than its lighthearted title suggests.\u003c/p>\n\u003cp>Let me begin with a few suggestions for visiting \u003ci>Playtime\u003c/i>. If you’re a completist, plan for two-and-a-half hours of solid video viewing time. Pack a few snacks (to be consumed between installations) and some tissues, if you’re quick to tear up. Bring a buddy — someone who might enjoy a post-viewing discussion of wide-ranging and big-picture concepts like capitalism, labor and the global art market. I’ll take the liberty of suggesting a particular viewing sequence, which also happens to be the order in which the works were made: \u003ci>Better Life (Ten Thousand Waves)\u003c/i>, \u003ci>KAPITAL\u003c/i> and finally, the titular \u003ci>Playtime\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13817271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817271\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200.jpg\" alt=\"Installation view of Isaac Julien, 'Better Life,' 2010 in Gray Box Gallery, San Francisco Art Institute - Fort Mason Campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Better-Life-@-FMCAC_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isaac Julien, ‘Better Life,’ 2010 in Gray Box Gallery, San Francisco Art Institute – Fort Mason Campus. \u003ccite>(Fort Mason Center for Arts & Culture / JKA Photgraphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ready? We begin in the San Francisco Art Institute’s Gray Box Gallery on Pier 2, part of the school’s \u003ca href=\"http://www.sfai.edu/about-sfai/facilities/pier-2\" target=\"_blank\" rel=\"noopener\">newly opened Fort Mason expansion\u003c/a>. The single-screen, 55-minute video mixes found footage with reenactments to tell a heartbreaking story of cultural dislocation and loss, all spurred by a timeless search for a better life.\u003c/p>\n\u003cp>The contemporary example of this quest (and its accompanying danger) comes from the \u003ca href=\"https://en.wikipedia.org/wiki/2004_Morecambe_Bay_cockling_disaster\" target=\"_blank\" rel=\"noopener\">2004 Morecombe Bay disaster\u003c/a>, in which 23 Chinese men and women, hired to pick cockles (edible clams) off the northwest coast of England, died in the rising tide, unable to understand warnings from English-speaking locals.\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>Additional historical and fictional references in \u003ci>Better Life\u003c/i> make Morecombe Bay one in a long line of tragedies, but without lessening the contemporary event’s emotional impact. In one sequence, actress Maggie Cheung floats over 15th-century fishermen in the Fujian Province (home to the 23 Chinese cockle-pickers) as the goddess Mazu, mythical protector of seafarers. In another, actress Zhao Tao reenacts the making of \u003ca href=\"https://en.wikipedia.org/wiki/The_Goddess_(1934_film)\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goddess\u003c/i>\u003c/a>, a 1934 silent film starring \u003ca href=\"https://en.wikipedia.org/wiki/Ruan_Lingyu\" target=\"_blank\" rel=\"noopener\">Ruan Lingyu\u003c/a> as a Shanghai prostitute struggling to support her child. (A not-insignificant side note: Cheung played Ruan in Stanley Kwan’s 1992 film \u003ca href=\"https://en.wikipedia.org/wiki/Centre_Stage_(1992_film)\" target=\"_blank\" rel=\"noopener\">\u003ci>Centre Stage\u003c/i>\u003c/a>, reigniting interest in the silent film actress’ career and death by suicide at age 24.)\u003c/p>\n\u003cfigure id=\"attachment_13817274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817274\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200.jpg\" alt=\"Installation view of Isaac Julien, 'KAPITAL,' 2013 in SFMOMA Artists Gallery.\" width=\"1200\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KAPITAL-@FMCAC_1200-520x333.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Isaac Julien, ‘KAPITAL,’ 2013 in SFMOMA Artists Gallery. \u003ccite>(Fort Mason Center for Arts & Culture / JKA Photgraphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julien loves to expose the inner workings of his video pieces, making visible both the mechanisms of their production and the people operating those mechanisms. Zhao’s scenes clearly take place on a set of old Shanghai; the camera crew tracking her trolley rides is included in some of the shots. After she floats over the stunning Fujian landscape, we see Cheung suspended before a green screen, wires, fans and backstage workers all laboring within the frame.\u003c/p>\n\u003cp>If \u003ci>Better Life\u003c/i> leaves you feeling bereft, the view from Fort Mason across the Bay will help a bit, though it may also remind you of the cockle-pickers. Restored? The short walk between Pier 2 and the SFMOMA Artists Gallery is a great time to nosh on a snack.\u003c/p>\n\u003cp>Here, instead of a dark screening room, a white-walled gallery sports circular photographic prints (a nod to Renaissance tondos) featuring props and people from \u003ci>Playtime\u003c/i>. The 31-minute \u003ci>KAPITAL\u003c/i> plays on two monitors, laying bare (once again) Julien’s deep engagement with the topics explored visually and narratively in the exhibition’s pièce de résistance. Interspersed with clips from \u003ci>Wall Street\u003c/i> and \u003ci>Dealers\u003c/i>, Marx scholar \u003ca href=\"http://davidharvey.org/\" target=\"_blank\" rel=\"noopener\">David Harvey\u003c/a> weighs in on capital and the (timely) fallacy of tax cuts for the rich. There’s a belief, he says, that when the rich have more money they invest and create jobs. “They don’t!” Harvey says. “They invest in art.”\u003c/p>\n\u003cfigure id=\"attachment_13817272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817272\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200.jpg\" alt=\"Isaac Julien, 'Eclipse (Playtime),' 2013.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Isaac-Julien-Eclipse_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien, ‘Eclipse (Playtime),’ 2013. \u003ccite>(Copyright the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This provides a wonderful moment in our tour to consider how \u003ci>Playtime\u003c/i> (the exhibition) arrived at Fort Mason Center. Loaned to the campus by the Kramlich Collection (previously responsible for the joy that was Janet Cardiff’s \u003ca href=\"https://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">\u003ci>Forty Part Motet\u003c/i>\u003c/a>, a collaboration with SFMOMA), \u003ci>Playtime\u003c/i> (the video) was also made with financial support from the Kramlichs. In one scene in the seven-channel, 67-minute result of that support, James Franco directly addresses the camera with a smirk: “Who knows, maybe even video art will bring in a healthy sum to the next eagle-eyed investor of today.”\u003c/p>\n\u003cp>After Harvey’s sobering take on the speeding-up and ever-more-disparate global economy (“capitalism cannot function without debt,” he says), the five scenes within Julien’s \u003ci>Playtime\u003c/i> perform the tricky task of seducing the viewer while simultaneously making her skin crawl. Be it through scenes of a London hedge fund, Franco’s art-collecting advice, a post-collapse Reykjavik, Maggie Cheung interviewing art auctioneer Simon de Pury, or a Filipina house worker in Dubai, Julien beautifully illustrates the global, often bewildering movement of money, people and information.\u003c/p>\n\u003cp>The most playful aspect of \u003ci>Playtime\u003c/i> (the video) may be its lack of seating options, leaving those with a desire to watch the entire loop the options of strolling through a maze of gigantic screens, or splaying out on the plush, ultramarine blue carpet covering Gallery 308 (imported from France!).\u003c/p>\n\u003cp>It’s a lot — to take in, to sit through, to mull over afterwards. But you have snacks and a friend, right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Playtime’ is on view at San Francisco’s Fort Mason Center for Arts & Culture through Feb. 11, 2018. Admission is free, no reservations required. For more information, \u003ca href=\"https://fortmason.org/event/playtime/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817198/dont-let-its-title-confuse-you-playtime-isnt-all-fun-and-games","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_1118","arts_2013","arts_596","arts_901"],"featImg":"arts_13817275","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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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