The Best Art I Saw in 2021
Bay Area Visual Art Exhibitions Not to Miss this Fall
‘Witness’ Revisits Carrie Mae Weems’ Powerful Oeuvre
On Being the Only One in Fraenkel Gallery’s ‘I’m Not the Only One’
Lee Friedlander’s ‘Signs’ of the Times at Fraenkel Gallery
‘Fries With That’ Serves Up Darkly Humorous Photo Show, And a Side of Ketchup
On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018
At the Intersection of Art and Vinyl
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He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"shotchkiss":{"type":"authors","id":"61","meta":{"index":"authors_1591205172","id":"61","found":true},"name":"Sarah Hotchkiss","firstName":"Sarah","lastName":"Hotchkiss","slug":"shotchkiss","email":"shotchkiss@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Senior Associate Editor","bio":"Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13907035":{"type":"posts","id":"arts_13907035","meta":{"index":"posts_1591205157","site":"arts","id":"13907035","score":null,"sort":[1639011598000]},"guestAuthors":[],"slug":"best-visual-art-2021-galleries-museums-sf-bay-area","title":"The Best Art I Saw in 2021","publishDate":1639011598,"format":"standard","headTitle":"The Best Art I Saw in 2021 | KQED","labelTerm":{},"content":"\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CMCsMhEBQDW/?utm_source=ig_web_copy_link\u003c/p>\n\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\u003c/p>\n\u003cp>https://youtu.be/aeZC7Zs9mRY\u003c/p>\n\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","status":"publish","parent":0,"modified":1705007409,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1620},"headData":{"title":"The Best Art I Saw in 2021 | KQED","description":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Art I Saw in 2021","datePublished":"2021-12-09T00:59:58.000Z","dateModified":"2024-01-11T21:10:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CMCsMhEBQDW"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aeZC7Zs9mRY'\n title='//www.youtube.com/embed/aeZC7Zs9mRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\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>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","authors":["61"],"categories":["arts_1"],"tags":["arts_16311","arts_2647","arts_10342","arts_10278","arts_3740","arts_3649","arts_1956","arts_3648","arts_16266","arts_1381","arts_901"],"featImg":"arts_13907062","label":"source_arts_13907035"},"arts_13902030":{"type":"posts","id":"arts_13902030","meta":{"index":"posts_1591205157","site":"arts","id":"13902030","score":null,"sort":[1630350745000]},"guestAuthors":[],"slug":"bay-area-visual-art-exhibitions-not-to-miss-this-fall","title":"Bay Area Visual Art Exhibitions Not to Miss this Fall","publishDate":1630350745,"format":"aside","headTitle":"Bay Area Visual Art Exhibitions Not to Miss this Fall | KQED","labelTerm":{},"content":"\u003cp>If we’ve learned anything over the past 18 months, it’s that there’s no replacing the physical and emotional experience of seeing art in person. And while Bay Area galleries have generally remained open during the pandemic, our local museums shuttered for months on end.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>The resulting backlog of planned exhibitions means there’s a wealth of major shows to take in this fall, alongside an exciting gallery schedule and events that take art out of the white cube—into the streets and onto the water. \u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13902039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200.jpg\" alt=\"Green hands hold up a pink-patterned fabric with the text: Do you see it now?\" width=\"1200\" height=\"1371\" class=\"size-full wp-image-13902039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-800x914.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-1020x1165.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-768x877.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Farah Al Qasimi, ‘It’s Not Easy Being Seen 3,’ 2016; archival inkjet print. \u003ccite>(Courtesy the artist; The Third Line, Dubai; and Helena Anrather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/new-time-art-and-feminisms-21st-century\" rel=\"noopener noreferrer\" target=\"_blank\">‘New Time: Art and Feminisms in the 21st Century’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 28, 2021–Jan. 30, 2022\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the most ambitious local programming derailed by the pandemic was originally planned in conjunction with the \u003ca href=\"https://feministartcoalition.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Feminist Art Coalition\u003c/a>. The brainchild of BAMPFA curator Apsara DiQuinzio, this consortium grew out of the 2016 presidential election and the 2017 Women’s March—eventually involving over 100 arts organizations across the United States—to stage exhibitions and events focused on feminist thought and practices. DiQuinzio recently announced her departure from BAMPFA after nine years at the museum, and \u003ci>New Time\u003c/i> is her epic send-off. The survey of feminist art from the past two decades contains over 70 artists working in a range of media, extending to BAMPFA’s outdoor screen for \u003ci>Political Landscapes\u003c/i> (photographs of marches taken by Catherine Opie), and a newly commissioned mural by Luchita Hurtado, among the last works the artist made before her death in 2020.\u003c/p>\n\u003cfigure id=\"attachment_13902042\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web.jpg\" alt=\"An abstract diptych painting dominated by blue, orange and pink brushstrokes.\" width=\"1500\" height=\"1112\" class=\"size-full wp-image-13902042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-768x569.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joan Mitchell, ‘Weeds,’ 1976; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. \u003ccite>(© Estate of Joan Mitchell; photo by Ian Lefebvre, Art Gallery of Ontario)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-mitchell/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Joan Mitchell’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 4, 2021–Jan. 17, 2022\u003cbr>\nSan Francisco Museum of Modern Art\u003c/i>\u003c/p>\n\u003cp>If you’ve been yearning (like me) for color, texture and scale in your reduced, screen-filled life, this Joan Mitchell retrospective offers temporary satisfaction. Organized by both SFMOMA and the Baltimore Museum of Art, the show features a whopping 80-some works spanning the artist’s four-decade-long career. Mitchell’s athletic abstractions are by turns dense and loose, filled with gestures large and small. The show pays particular attention to the landscapes Mitchell absorbed during her time in Chicago, New York, Paris, and eventually, the French village Vétheuil where she lived and worked for her final 25 years. \u003c/p>\n\u003cfigure id=\"attachment_13902084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/CMW-0127_1200.jpg\" alt=\"Two red tinted images of enslaved people with overlaid text.\" width=\"1200\" height=\"681\" class=\"size-full wp-image-13902084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-768x436.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘You Became Mammie, Mama, Mother, Then, Yes, Confidant-Ha/ Descending the Throne You Became Foot Soldier & Cook,’ 1995–96; Chromogenic print with sandblasted text. \u003ccite>(© Carrie Mae Weems; Courtesy of the artist and Jack Shainman Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fraenkelgallery.com/exhibitions/carrie-mae-weems\" rel=\"noopener noreferrer\" target=\"_blank\">Carrie Mae Weems, ‘Witness’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 9–Nov. 12, 2021\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>Looking back on four decades of work by \u003ca href=\"http://carriemaeweems.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Carrie Mae Weems\u003c/a>, \u003ci>Witness\u003c/i> marks the photographer’s first exhibition at Fraenkel—and a welcome bounty for Bay Area art lovers. The show encompasses documentary-style photographs, scenes of Black domesticity, staged reckonings with structures of power, lyrical video work and powerful combinations of image and text. It’s especially fitting to revisit this work (or see it for the first time) in the Bay Area, where Weems lived on and off during the ’70s and ’80s, participating in Anna Halprin’s San Francisco Dancers’ Workshop and studying folklore at UC Berkeley. \u003c/p>\n\u003cfigure id=\"attachment_13902081\" class=\"wp-caption aligncenter\" style=\"max-width: 826px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164.jpg\" alt=\"Nude woman lays in fetal position on a bed.\" width=\"826\" height=\"612\" class=\"size-full wp-image-13902081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164.jpg 826w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-768x569.jpg 768w\" sizes=\"(max-width: 826px) 100vw, 826px\">\u003cfigcaption class=\"wp-caption-text\">Gina Contreras, ‘La Lonely,’ 2021; Acrylic and gouache on canvas. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.parklifestore.com/2021/08/14/opening-sept-10-2021-at-park-life-gina-m-contreras-hey-there-lonely-girl/\" rel=\"noopener noreferrer\" target=\"_blank\">Gina M. Contreras, ‘Hey There Lonely Girl’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 10–Oct. 10\u003cbr>\nPark Life, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/ginamcontreras/\" rel=\"noopener noreferrer\" target=\"_blank\">Gina M. Contreras\u003c/a>’ delicately rendered paintings of (mostly solo) nude women on their beds, in their homes, surrounded by personal items that spell comfort, are a pleasure to behold. Whether you view her figures as downcast or simply contemplative, they’re never truly isolated; Contreras’ scenes are rich in detail, color and pattern. Look out for painted notebook pages, photographs, magazine spreads and untold numbers of flowers. Her work is so inviting that you might find yourself getting closer to her surfaces than you have to other humans for the past 18 months.\u003c/p>\n\u003cfigure id=\"attachment_13902043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200.jpg\" alt=\"A screen mounted to a floating barge shows a portrait of a woman.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13902043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shimon Attie, ‘Night Watch (Norris with Liberty),’ 2018; Originally produced by Moreart.org in New York City. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cclarkgallery.com/exhibitions/boxblur-attie-night-watch-2021\" rel=\"noopener noreferrer\" target=\"_blank\">Shimon Attie, ‘Night Watch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 17–19, 6:15–9pm\u003cbr>\nSan Francisco Bay and Oakland Estuary\u003c/i>\u003c/p>\n\u003cp>If being indoors isn’t your jam these days, BOXBLUR (a performance program launched by Catharine Clark Gallery) and the Immersive Arts Alliance have organized three nights of waterfront viewing for Shimon Attie’s floating video project: a slow-moving barge boasting a 20-foot-wide LED screen. \u003ci>Night Watch\u003c/i> displays silent video portraits of 12 refugees who received political asylum in the United States, images that make tangible what it means to leave one’s homeland in the face of violence and discrimination. The project will be accompanied by live music and dance performances at waterfronts along the barge’s nightly routes, events at over 40 Bay Area partner organizations, and a \u003ca href=\"https://cclarkgallery.com/exhibitions/attie-solo-exhibition-2021\" rel=\"noopener noreferrer\" target=\"_blank\">solo exhibition\u003c/a> of Attie’s work at Catharine Clark (Sept. 18–Oct. 30).\u003c/p>\n\u003cfigure id=\"attachment_13902103\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LW_ladies-night2.jpg\" alt=\"Collage of photographs of women performers on a yellow background.\" width=\"1200\" height=\"1549\" class=\"size-full wp-image-13902103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-800x1033.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-1020x1317.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-1190x1536.jpg 1190w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘Ladies Night,’ 2021; Digital fiber print, paper, collage. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/41-lindsey-white-how-to-get-on-cable-television/press_release_text/\" target=\"_target\" rel=\"noopener noreferrer\">Lindsey White, ‘How to Get on Cable Television’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 17–Oct. 30\u003cbr>\nCasemore Kirkeby Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lindseywhiteprojects.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Lindsey White\u003c/a> has long engaged with the curious (and insular) worlds of professional and amateur magicians, comedians and other on-stage personalities. In her hands, jokes and gestures, props and scenarios become focused object-lessons on both the value of humor and the gender dynamics within different artistic circles. In this show of all-new photographs and sculptures, White reimagines existing archival photographs, further engaging with the ways the histories of these scenes are preserved—or constructed.\u003c/p>\n\u003cfigure id=\"attachment_13902102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/6331-cropped-to-edge_1200.jpg\" alt=\"A square painting of circles, stripes and rays in predominantly gold and brown.\" width=\"1200\" height=\"1205\" class=\"size-full wp-image-13902102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-768x771.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eamon Ore-Giron, ‘Infinite Regress CLXXXI,’ 2021; Mineral paint and flashe on linen. \u003ccite>(Courtesy of the artist and James Cohan, New York; Photo by Charles White / JWPictures.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/eamon-ore-giron-at-the-anderson-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">Eamon Ore-Giron, ‘Non Plus Ultra’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anderson Collection, Stanford University\u003cbr>\nSept. 23, 2021–Feb. 20, 2022\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://eamonoregiron.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eamon Ore-Giron\u003c/a> is based in Los Angeles, but his work routinely makes its way back up to the Bay Area (he received his BFA at SFAI in 1996), and we’re the better for it. The artist is the 2020–22 recipient of Stanford’s Presidential Residency on the Future of the Arts, a program started in 2018 to bring “world-renowned artists to Stanford’s campus.” His precise geometric abstractions draw from both ancient and 20th-century influences, connecting Indigenous and craft traditions with avant-garde artistic movements. His compositions—which often remind me of swinging clock pendulums—hint at layers of cultural knowledge and expansive stretches of time.\u003c/p>\n\u003cfigure id=\"attachment_13902083\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Conraddetail-copy.jpg\" alt=\"A painted scene of several seated figures.\" width=\"1500\" height=\"557\" class=\"size-full wp-image-13902083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-800x297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-1020x379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-768x285.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Conrad Egyir, ‘A Chapter of Love’ (detail), 2021; reproduction of painting on vinyl. \u003ccite>(Courtesy of the artist and Jessica Silverman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/conradegyirchapters-of-light/\" rel=\"noopener noreferrer\" target=\"_blank\">Conrad Egyir, ‘Chapters of Light’\u003c/a> & \u003ca href=\"https://www.icasanjose.org/conradegyirachapteroflove/\" rel=\"noopener noreferrer\" target=\"_blank\">‘A Chapter of Love’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1, 2021–Feb. 2, 2022 (gallery); Oct. 1, 2021–Sept. 2022 (facade)\u003cbr>\nICA San José\u003c/i>\u003c/p>\n\u003cp>Following the refresh of the ICA’s galleries and the transformation of the art center’s facade into a striking public art venue, Detroit-based Ghanaian artist \u003ca href=\"https://conradegyir.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Conrad Egyir\u003c/a> takes over both interior and exterior this October with his figurative tableaux. Inside, \u003ci>Chapters of Light\u003c/i> will premiere a series of monochromatic portraits—Egyir usually depicts close friends or himself—that confuse the boundaries between subject, surroundings and background. Outside, \u003ci>A Chapter of Love\u003c/i> returns to Egyir’s brightly colored palette to illustrate the idea that “it takes a village” when it comes to raising children. That sense of community and participation is further captured by an interactive portrait room and a sidewalk installation meant to prompt hopscotch-like games. \u003c/p>\n\u003cfigure id=\"attachment_13902044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0.jpeg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13902044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The setting for Trevor Paglen’s ‘Beta Space’ sound installation: the San Jose Museum of Art’s 19th-century clocktower. \u003ccite>(Richard J. Karson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sjmusart.org/exhibition/beta-space-trevor-paglen\" rel=\"noopener noreferrer\" target=\"_blank\">‘Beta Space: Trevor Paglen’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 5, 2021–Nov. 6, 2022\u003cbr>\nSan José Museum of Art\u003c/i>\u003c/p>\n\u003cp>While this show is technically \u003ci>inside\u003c/i> the SJMA, those seeking it out need only be within earshot of the museum’s clock tower. A newly commissioned sound piece by artist \u003ca href=\"http://altmansiegel.com/artists/trevor-paglen/#selected-work\" rel=\"noopener noreferrer\" target=\"_blank\">Trevor Paglen\u003c/a>—his first—will issue regular verbal announcements in a synthesized male voice not unlike the one heard on the U.S. Naval Observatory’s time-by-phone line (that’s 202-762-1401, for future reference). A blend of local facts (time, weather) and global information (data culled from satellite navigation systems, an endangered species list, Cal Fire updates, to name a few) will interrupt business as usual for 45 seconds at a time, reframing everyday life in relationship to events happening at a geological scale.\u003c/p>\n\u003cfigure id=\"attachment_13902082\" class=\"wp-caption aligncenter\" style=\"max-width: 1201px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/R3RMR006-image.jpg\" alt=\"Two vertical paintings of red and green leaves.\" width=\"1201\" height=\"856\" class=\"size-full wp-image-13902082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image.jpg 1201w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-768x547.jpg 768w\" sizes=\"(max-width: 1201px) 100vw, 1201px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Mrozowski, ‘Untitled (Pair),’ 2021; Acrylic on linen. \u003ccite>(Courtesy of the artist and Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Mrozowski\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 5–Dec. 17\u003cbr>\nRatio 3, San Francisco\u003c/i>\u003c/p>\n\u003cp>There’s something hypnotic about the Brooklyn-based \u003ca href=\"http://www.ryanmrozowski.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ryan Mrozowski\u003c/a>’s paintings. Close-up views of lush greenery, often displayed in diptychs, trigger a sort of “spot the difference” compulsion as your eyes dark back and forth between two images. Some of his paintings utilize an all-over pattern punctuated by circles (the centers of black-eyed Susans or eerily evenly distributed oranges). Others depict impossible hedge mazes seen from above. This show will include all new paintings, the likely sources of plenty of exercise for visitors’ optical nerves. \u003c/p>\n\u003cfigure id=\"attachment_13902045\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg\" alt=\"Light-skinned hands use a tool on a dark clay teacup.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13902045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-768x535.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled (Finishing a Teacup Edited),’ c. 1970; photographic print from the Edith and Brian Heath Collection in the Environmental Design Archives, UC Berkeley. \u003ccite>(Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/edith-heath-life-clay\" rel=\"noopener noreferrer\" target=\"_blank\">‘Edith Heath: A Life in Clay’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 13, 2021–June 26, 2022\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like \u003ci>New Time\u003c/i>, this exhibition exploring the life and work of designer Edith Heath (co-founder of Heath Ceramics) was meant to take place in 2020. (Gosh, we missed out on so much art last year!) Accustomed as we now are to the beauty and heft of Heath products—and all the cultural cachet that accompanies them—it may come as a surprise that Heath’s use, starting in the 1940s, of locally sourced California clays was a major departure in the world of ceramics. This show includes her hand-thrown and early production pieces, architectural tiles, clay and mineral materials (a self-trained scientist, Heath regularly experimented with glazes and firing techniques), photographs, video, personal letters and more. I’ll bet you good money there’ll be some Heath products available in the OMCA gift shop, too.\u003c/p>\n\n","blocks":[],"excerpt":"Our fall preview is packed with museum and gallery shows—and even a few art experiences outside the white cube.","status":"publish","parent":0,"modified":1705007873,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1899},"headData":{"title":"Bay Area Visual Art Exhibitions Not to Miss this Fall | KQED","description":"Our fall preview is packed with museum and gallery shows—and even a few art experiences outside the white cube.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Visual Art Exhibitions Not to Miss this Fall","datePublished":"2021-08-30T19:12:25.000Z","dateModified":"2024-01-11T21:17:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13902030/bay-area-visual-art-exhibitions-not-to-miss-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If we’ve learned anything over the past 18 months, it’s that there’s no replacing the physical and emotional experience of seeing art in person. And while Bay Area galleries have generally remained open during the pandemic, our local museums shuttered for months on end.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>The resulting backlog of planned exhibitions means there’s a wealth of major shows to take in this fall, alongside an exciting gallery schedule and events that take art out of the white cube—into the streets and onto the water. \u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13902039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200.jpg\" alt=\"Green hands hold up a pink-patterned fabric with the text: Do you see it now?\" width=\"1200\" height=\"1371\" class=\"size-full wp-image-13902039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-800x914.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-1020x1165.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Farah-Al-Qasimi_Its-Not-Easy-Being-Seen-3_LR_1200-768x877.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Farah Al Qasimi, ‘It’s Not Easy Being Seen 3,’ 2016; archival inkjet print. \u003ccite>(Courtesy the artist; The Third Line, Dubai; and Helena Anrather)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/new-time-art-and-feminisms-21st-century\" rel=\"noopener noreferrer\" target=\"_blank\">‘New Time: Art and Feminisms in the 21st Century’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 28, 2021–Jan. 30, 2022\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\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>Some of the most ambitious local programming derailed by the pandemic was originally planned in conjunction with the \u003ca href=\"https://feministartcoalition.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Feminist Art Coalition\u003c/a>. The brainchild of BAMPFA curator Apsara DiQuinzio, this consortium grew out of the 2016 presidential election and the 2017 Women’s March—eventually involving over 100 arts organizations across the United States—to stage exhibitions and events focused on feminist thought and practices. DiQuinzio recently announced her departure from BAMPFA after nine years at the museum, and \u003ci>New Time\u003c/i> is her epic send-off. The survey of feminist art from the past two decades contains over 70 artists working in a range of media, extending to BAMPFA’s outdoor screen for \u003ci>Political Landscapes\u003c/i> (photographs of marches taken by Catherine Opie), and a newly commissioned mural by Luchita Hurtado, among the last works the artist made before her death in 2020.\u003c/p>\n\u003cfigure id=\"attachment_13902042\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web.jpg\" alt=\"An abstract diptych painting dominated by blue, orange and pink brushstrokes.\" width=\"1500\" height=\"1112\" class=\"size-full wp-image-13902042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/19_Mitchell_Weeds_1976_web-768x569.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Joan Mitchell, ‘Weeds,’ 1976; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. \u003ccite>(© Estate of Joan Mitchell; photo by Ian Lefebvre, Art Gallery of Ontario)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfmoma.org/exhibition/joan-mitchell/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Joan Mitchell’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 4, 2021–Jan. 17, 2022\u003cbr>\nSan Francisco Museum of Modern Art\u003c/i>\u003c/p>\n\u003cp>If you’ve been yearning (like me) for color, texture and scale in your reduced, screen-filled life, this Joan Mitchell retrospective offers temporary satisfaction. Organized by both SFMOMA and the Baltimore Museum of Art, the show features a whopping 80-some works spanning the artist’s four-decade-long career. Mitchell’s athletic abstractions are by turns dense and loose, filled with gestures large and small. The show pays particular attention to the landscapes Mitchell absorbed during her time in Chicago, New York, Paris, and eventually, the French village Vétheuil where she lived and worked for her final 25 years. \u003c/p>\n\u003cfigure id=\"attachment_13902084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/CMW-0127_1200.jpg\" alt=\"Two red tinted images of enslaved people with overlaid text.\" width=\"1200\" height=\"681\" class=\"size-full wp-image-13902084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/CMW-0127_1200-768x436.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘You Became Mammie, Mama, Mother, Then, Yes, Confidant-Ha/ Descending the Throne You Became Foot Soldier & Cook,’ 1995–96; Chromogenic print with sandblasted text. \u003ccite>(© Carrie Mae Weems; Courtesy of the artist and Jack Shainman Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fraenkelgallery.com/exhibitions/carrie-mae-weems\" rel=\"noopener noreferrer\" target=\"_blank\">Carrie Mae Weems, ‘Witness’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 9–Nov. 12, 2021\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>Looking back on four decades of work by \u003ca href=\"http://carriemaeweems.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Carrie Mae Weems\u003c/a>, \u003ci>Witness\u003c/i> marks the photographer’s first exhibition at Fraenkel—and a welcome bounty for Bay Area art lovers. The show encompasses documentary-style photographs, scenes of Black domesticity, staged reckonings with structures of power, lyrical video work and powerful combinations of image and text. It’s especially fitting to revisit this work (or see it for the first time) in the Bay Area, where Weems lived on and off during the ’70s and ’80s, participating in Anna Halprin’s San Francisco Dancers’ Workshop and studying folklore at UC Berkeley. \u003c/p>\n\u003cfigure id=\"attachment_13902081\" class=\"wp-caption aligncenter\" style=\"max-width: 826px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164.jpg\" alt=\"Nude woman lays in fetal position on a bed.\" width=\"826\" height=\"612\" class=\"size-full wp-image-13902081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164.jpg 826w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/5DC06704-1C6A-48B2-8E12-FDBDFC3DB164-768x569.jpg 768w\" sizes=\"(max-width: 826px) 100vw, 826px\">\u003cfigcaption class=\"wp-caption-text\">Gina Contreras, ‘La Lonely,’ 2021; Acrylic and gouache on canvas. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.parklifestore.com/2021/08/14/opening-sept-10-2021-at-park-life-gina-m-contreras-hey-there-lonely-girl/\" rel=\"noopener noreferrer\" target=\"_blank\">Gina M. Contreras, ‘Hey There Lonely Girl’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 10–Oct. 10\u003cbr>\nPark Life, San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/ginamcontreras/\" rel=\"noopener noreferrer\" target=\"_blank\">Gina M. Contreras\u003c/a>’ delicately rendered paintings of (mostly solo) nude women on their beds, in their homes, surrounded by personal items that spell comfort, are a pleasure to behold. Whether you view her figures as downcast or simply contemplative, they’re never truly isolated; Contreras’ scenes are rich in detail, color and pattern. Look out for painted notebook pages, photographs, magazine spreads and untold numbers of flowers. Her work is so inviting that you might find yourself getting closer to her surfaces than you have to other humans for the past 18 months.\u003c/p>\n\u003cfigure id=\"attachment_13902043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200.jpg\" alt=\"A screen mounted to a floating barge shows a portrait of a woman.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13902043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Night-Watch-Norris-at-Sunset_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shimon Attie, ‘Night Watch (Norris with Liberty),’ 2018; Originally produced by Moreart.org in New York City. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cclarkgallery.com/exhibitions/boxblur-attie-night-watch-2021\" rel=\"noopener noreferrer\" target=\"_blank\">Shimon Attie, ‘Night Watch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 17–19, 6:15–9pm\u003cbr>\nSan Francisco Bay and Oakland Estuary\u003c/i>\u003c/p>\n\u003cp>If being indoors isn’t your jam these days, BOXBLUR (a performance program launched by Catharine Clark Gallery) and the Immersive Arts Alliance have organized three nights of waterfront viewing for Shimon Attie’s floating video project: a slow-moving barge boasting a 20-foot-wide LED screen. \u003ci>Night Watch\u003c/i> displays silent video portraits of 12 refugees who received political asylum in the United States, images that make tangible what it means to leave one’s homeland in the face of violence and discrimination. The project will be accompanied by live music and dance performances at waterfronts along the barge’s nightly routes, events at over 40 Bay Area partner organizations, and a \u003ca href=\"https://cclarkgallery.com/exhibitions/attie-solo-exhibition-2021\" rel=\"noopener noreferrer\" target=\"_blank\">solo exhibition\u003c/a> of Attie’s work at Catharine Clark (Sept. 18–Oct. 30).\u003c/p>\n\u003cfigure id=\"attachment_13902103\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LW_ladies-night2.jpg\" alt=\"Collage of photographs of women performers on a yellow background.\" width=\"1200\" height=\"1549\" class=\"size-full wp-image-13902103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-800x1033.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-1020x1317.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LW_ladies-night2-1190x1536.jpg 1190w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘Ladies Night,’ 2021; Digital fiber print, paper, collage. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.casemorekirkeby.com/exhibitions/41-lindsey-white-how-to-get-on-cable-television/press_release_text/\" target=\"_target\" rel=\"noopener noreferrer\">Lindsey White, ‘How to Get on Cable Television’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 17–Oct. 30\u003cbr>\nCasemore Kirkeby Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lindseywhiteprojects.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Lindsey White\u003c/a> has long engaged with the curious (and insular) worlds of professional and amateur magicians, comedians and other on-stage personalities. In her hands, jokes and gestures, props and scenarios become focused object-lessons on both the value of humor and the gender dynamics within different artistic circles. In this show of all-new photographs and sculptures, White reimagines existing archival photographs, further engaging with the ways the histories of these scenes are preserved—or constructed.\u003c/p>\n\u003cfigure id=\"attachment_13902102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/6331-cropped-to-edge_1200.jpg\" alt=\"A square painting of circles, stripes and rays in predominantly gold and brown.\" width=\"1200\" height=\"1205\" class=\"size-full wp-image-13902102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/6331-cropped-to-edge_1200-768x771.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eamon Ore-Giron, ‘Infinite Regress CLXXXI,’ 2021; Mineral paint and flashe on linen. \u003ccite>(Courtesy of the artist and James Cohan, New York; Photo by Charles White / JWPictures.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/eamon-ore-giron-at-the-anderson-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">Eamon Ore-Giron, ‘Non Plus Ultra’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Anderson Collection, Stanford University\u003cbr>\nSept. 23, 2021–Feb. 20, 2022\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://eamonoregiron.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eamon Ore-Giron\u003c/a> is based in Los Angeles, but his work routinely makes its way back up to the Bay Area (he received his BFA at SFAI in 1996), and we’re the better for it. The artist is the 2020–22 recipient of Stanford’s Presidential Residency on the Future of the Arts, a program started in 2018 to bring “world-renowned artists to Stanford’s campus.” His precise geometric abstractions draw from both ancient and 20th-century influences, connecting Indigenous and craft traditions with avant-garde artistic movements. His compositions—which often remind me of swinging clock pendulums—hint at layers of cultural knowledge and expansive stretches of time.\u003c/p>\n\u003cfigure id=\"attachment_13902083\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Conraddetail-copy.jpg\" alt=\"A painted scene of several seated figures.\" width=\"1500\" height=\"557\" class=\"size-full wp-image-13902083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-800x297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-1020x379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Conraddetail-copy-768x285.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Conrad Egyir, ‘A Chapter of Love’ (detail), 2021; reproduction of painting on vinyl. \u003ccite>(Courtesy of the artist and Jessica Silverman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.icasanjose.org/conradegyirchapters-of-light/\" rel=\"noopener noreferrer\" target=\"_blank\">Conrad Egyir, ‘Chapters of Light’\u003c/a> & \u003ca href=\"https://www.icasanjose.org/conradegyirachapteroflove/\" rel=\"noopener noreferrer\" target=\"_blank\">‘A Chapter of Love’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1, 2021–Feb. 2, 2022 (gallery); Oct. 1, 2021–Sept. 2022 (facade)\u003cbr>\nICA San José\u003c/i>\u003c/p>\n\u003cp>Following the refresh of the ICA’s galleries and the transformation of the art center’s facade into a striking public art venue, Detroit-based Ghanaian artist \u003ca href=\"https://conradegyir.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Conrad Egyir\u003c/a> takes over both interior and exterior this October with his figurative tableaux. Inside, \u003ci>Chapters of Light\u003c/i> will premiere a series of monochromatic portraits—Egyir usually depicts close friends or himself—that confuse the boundaries between subject, surroundings and background. Outside, \u003ci>A Chapter of Love\u003c/i> returns to Egyir’s brightly colored palette to illustrate the idea that “it takes a village” when it comes to raising children. That sense of community and participation is further captured by an interactive portrait room and a sidewalk installation meant to prompt hopscotch-like games. \u003c/p>\n\u003cfigure id=\"attachment_13902044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0.jpeg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13902044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/48268045692_5039ed050a_c_0-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The setting for Trevor Paglen’s ‘Beta Space’ sound installation: the San Jose Museum of Art’s 19th-century clocktower. \u003ccite>(Richard J. Karson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sjmusart.org/exhibition/beta-space-trevor-paglen\" rel=\"noopener noreferrer\" target=\"_blank\">‘Beta Space: Trevor Paglen’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 5, 2021–Nov. 6, 2022\u003cbr>\nSan José Museum of Art\u003c/i>\u003c/p>\n\u003cp>While this show is technically \u003ci>inside\u003c/i> the SJMA, those seeking it out need only be within earshot of the museum’s clock tower. A newly commissioned sound piece by artist \u003ca href=\"http://altmansiegel.com/artists/trevor-paglen/#selected-work\" rel=\"noopener noreferrer\" target=\"_blank\">Trevor Paglen\u003c/a>—his first—will issue regular verbal announcements in a synthesized male voice not unlike the one heard on the U.S. Naval Observatory’s time-by-phone line (that’s 202-762-1401, for future reference). A blend of local facts (time, weather) and global information (data culled from satellite navigation systems, an endangered species list, Cal Fire updates, to name a few) will interrupt business as usual for 45 seconds at a time, reframing everyday life in relationship to events happening at a geological scale.\u003c/p>\n\u003cfigure id=\"attachment_13902082\" class=\"wp-caption aligncenter\" style=\"max-width: 1201px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/R3RMR006-image.jpg\" alt=\"Two vertical paintings of red and green leaves.\" width=\"1201\" height=\"856\" class=\"size-full wp-image-13902082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image.jpg 1201w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/R3RMR006-image-768x547.jpg 768w\" sizes=\"(max-width: 1201px) 100vw, 1201px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Mrozowski, ‘Untitled (Pair),’ 2021; Acrylic on linen. \u003ccite>(Courtesy of the artist and Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Mrozowski\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 5–Dec. 17\u003cbr>\nRatio 3, San Francisco\u003c/i>\u003c/p>\n\u003cp>There’s something hypnotic about the Brooklyn-based \u003ca href=\"http://www.ryanmrozowski.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ryan Mrozowski\u003c/a>’s paintings. Close-up views of lush greenery, often displayed in diptychs, trigger a sort of “spot the difference” compulsion as your eyes dark back and forth between two images. Some of his paintings utilize an all-over pattern punctuated by circles (the centers of black-eyed Susans or eerily evenly distributed oranges). Others depict impossible hedge mazes seen from above. This show will include all new paintings, the likely sources of plenty of exercise for visitors’ optical nerves. \u003c/p>\n\u003cfigure id=\"attachment_13902045\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg\" alt=\"Light-skinned hands use a tool on a dark clay teacup.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13902045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/13-095-063_edit_1200-768x535.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Untitled (Finishing a Teacup Edited),’ c. 1970; photographic print from the Edith and Brian Heath Collection in the Environmental Design Archives, UC Berkeley. \u003ccite>(Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://museumca.org/exhibit/edith-heath-life-clay\" rel=\"noopener noreferrer\" target=\"_blank\">‘Edith Heath: A Life in Clay’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 13, 2021–June 26, 2022\u003cbr>\nOakland Museum of California\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>Like \u003ci>New Time\u003c/i>, this exhibition exploring the life and work of designer Edith Heath (co-founder of Heath Ceramics) was meant to take place in 2020. (Gosh, we missed out on so much art last year!) Accustomed as we now are to the beauty and heft of Heath products—and all the cultural cachet that accompanies them—it may come as a surprise that Heath’s use, starting in the 1940s, of locally sourced California clays was a major departure in the world of ceramics. This show includes her hand-thrown and early production pieces, architectural tiles, clay and mineral materials (a self-trained scientist, Heath regularly experimented with glazes and firing techniques), photographs, video, personal letters and more. I’ll bet you good money there’ll be some Heath products available in the OMCA gift shop, too.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902030/bay-area-visual-art-exhibitions-not-to-miss-this-fall","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_15307","arts_10278","arts_3740","arts_3648","arts_2755","arts_1381","arts_585"],"featImg":"arts_13902083","label":"source_arts_13902030"},"arts_13902980":{"type":"posts","id":"arts_13902980","meta":{"index":"posts_1591205157","site":"arts","id":"13902980","score":null,"sort":[1630347994000]},"guestAuthors":[],"slug":"witness-revisits-carrie-mae-weems-powerful-oeuvre","title":"‘Witness’ Revisits Carrie Mae Weems’ Powerful Oeuvre","publishDate":1630347994,"format":"standard","headTitle":"‘Witness’ Revisits Carrie Mae Weems’ Powerful Oeuvre | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Looking back on four decades of work by Carrie Mae Weems, \u003cem>Witness\u003c/em> marks the photographer’s first exhibition at Fraenkel—and a welcome bounty for Bay Area art lovers. The show encompasses documentary-style photographs, scenes of Black domesticity, staged reckonings with structures of power, lyrical video work and powerful combinations of image and text. It’s especially fitting to revisit this work (or see it for the first time) in the Bay Area, where Weems lived on and off during the ’70s and ’80s, participating in Anna Halprin’s San Francisco Dancers’ Workshop and studying folklore at UC Berkeley.\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/carrie-mae-weems\" rel=\"noopener noreferrer\" target=\"_blank\">Witness\u003c/a>’ is on view Sept. 9–Nov. 12 at Fraenkel Gallery (49 Geary, San Francisco).\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The show gathers four decades of work by the photographer who once called the Bay Area home.","status":"publish","parent":0,"modified":1705007878,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":127},"headData":{"title":"‘Witness’ Revisits Carrie Mae Weems’ Powerful Oeuvre | KQED","description":"The show gathers four decades of work by the photographer who once called the Bay Area home.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Witness’ Revisits Carrie Mae Weems’ Powerful Oeuvre","datePublished":"2021-08-30T18:26:34.000Z","dateModified":"2024-01-11T21:17:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13902980/witness-revisits-carrie-mae-weems-powerful-oeuvre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back on four decades of work by Carrie Mae Weems, \u003cem>Witness\u003c/em> marks the photographer’s first exhibition at Fraenkel—and a welcome bounty for Bay Area art lovers. The show encompasses documentary-style photographs, scenes of Black domesticity, staged reckonings with structures of power, lyrical video work and powerful combinations of image and text. It’s especially fitting to revisit this work (or see it for the first time) in the Bay Area, where Weems lived on and off during the ’70s and ’80s, participating in Anna Halprin’s San Francisco Dancers’ Workshop and studying folklore at UC Berkeley.\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/carrie-mae-weems\" rel=\"noopener noreferrer\" target=\"_blank\">Witness\u003c/a>’ is on view Sept. 9–Nov. 12 at Fraenkel Gallery (49 Geary, San Francisco).\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/13902980/witness-revisits-carrie-mae-weems-powerful-oeuvre","authors":["61"],"categories":["arts_1"],"tags":["arts_3740","arts_822","arts_585"],"featImg":"arts_13902994","label":"arts"},"arts_13886602":{"type":"posts","id":"arts_13886602","meta":{"index":"posts_1591205157","site":"arts","id":"13886602","score":null,"sort":[1600730724000]},"guestAuthors":[],"slug":"im-not-the-only-one-review-fraenkel-gallery","title":"On Being the Only One in Fraenkel Gallery’s ‘I’m Not the Only One’","publishDate":1600730724,"format":"standard","headTitle":"On Being the Only One in Fraenkel Gallery’s ‘I’m Not the Only One’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Anyone who has worked in a gallery or museum can attest to the lasting memory grooves a looped audio or video piece can cut into your brain. One particular animated video from a summer group show has cycled slightly below the surface of my consciousness for nearly 15 years. Its nonsense refrain—“Farmer Jones brand!”—haunts me to this day.\u003c/p>\n\u003cp>This will not be the case, fortunately, for the employees of Fraenkel Gallery during the span of \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/im-not-the-only-one\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Not the Only One\u003c/a>\u003c/i>. For though the show opens with a video piece by Mishka Henner (the show’s namesake), current by-appointment circumstances allow for the video to be stopped and started at will, to suit the needs of a particular audience.\u003c/p>\n\u003cp>It’s a private, customizable experience—one that could be, well, \u003ci>lonely\u003c/i>. But \u003ci>I’m Not the Only One\u003c/i> takes that condition in stride, filling the gallery’s three rooms with images of aloneness, an altogether comforting gathering that speaks to our shared yet separate experiences during 2020. Curated by gallery president Frish Brandt with input from staff, and drawn mostly from Fraenkel’s own holdings (a brand-new work by Elisheva Biernoff is a standout), it’s a showcase of their deep back catalog.\u003c/p>\n\u003cp>https://youtu.be/TBa4bwK4iiA\u003c/p>\n\u003cp>Even that is reassuring: it proves that aloneness has been a recurring theme across decades and media, for artists whose names are now lost to time, as well as those who have become household names. For every distressing, seemingly incomprehensible set of circumstances, artists have created ways to process that distress, even if none of them could have foreseen the particular circumstances of today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cacophony of Henner’s \u003ci>I’m Not the Only One\u003c/i> (a video collage of found YouTube clips: people singing Sam Smith’s broken-hearted song of the same name) gives way to a wall hung salon-style, covered in nearly two dozen prints. Generally featuring just one isolated figure each, these photographic works show people doing the things we’ve been doing recently to stave off panic (reading, futzing about the house, drinking with neighbors across fence lines), or wish we could do (see a movie, hug a friend).\u003c/p>\n\u003cp>Details are worth lingering over. E.J. Bellocq’s \u003ci>Storyville Portrait\u003c/i> pictures a woman in dramatic striped tights sitting next to a collection of miniature chairs topped with feathers. (These objects are strange and fantastical, especially because the image offers no explanation for them.) Up high, Wardell Milan’s mixed media work \u003ci>Edward\u003c/i> fragments a man’s athletic body, reducing his torso and legs to a single curve.\u003c/p>\n\u003cfigure id=\"attachment_13886604\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13886604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Fulford, ‘Pompeii,’ 2010. \u003ccite>(© Jason Fulford, courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, people give up their activities to lay prone, whether in sex, sleep or death. These photographs can be intimate (Peter Hujar’s portraits of Chuck Gretsch and David Wojnarowicz) or maintain a conceptual remove (Sophie Calle’s photographs of a stranger she invited to sleep in her bed). Adam Fuss’ daguerreotype of an empty mattress and Jason Fulford’s image of a tourist leaning to inspect a display at Pompeii connect the horizontality of the gallery’s works to all bodies’ inevitable conclusion. With Fulford’s image, in particular, I couldn’t help but mimic the pose of the woman getting a closer look at a body cast from hallowed ash. Indeed, we are all bending towards the horizontal. (Such thoughts are closer at hand during the pandemic.)\u003c/p>\n\u003cp>[aside postID='arts_13886069']Lest things get too introspective, the final room of the show zooms back out into a wider world, with human figures dwarfed by natural surroundings. In these works, it is the distances between bodies that become visible, whether in the tiny anonymous print of gray figures on a foggy beach, or in Richard Misrach’s images of Boy Scouts in Nevada’s Pyramid Lake. In Johnnie Chatman’s series of self-portraits, he becomes a silhouette surrounded by both epic and mundane nature. The unseen expanses between these map points (his body, the centrally located pin in each frame) form a network of selves crisscrossing the North American continent. It’s a physical version of what many of us have been doing for some time now: sending written, visual and audio representations of our stationary selves across great distances.\u003c/p>\n\u003cfigure id=\"attachment_13886606\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/JCH-0101_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Johnnie Chatman, ‘Self Portrait, John Ford Point,’ 2018. \u003ccite>(© Johnnie Chatman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s final work animates that network in the form of Christian Marclay’s 1995 video \u003ci>Telephones\u003c/i>. In clips from films, actors move through the steps of a telephone call: dialing a number (remember how long it took to dial 9s on rotary phones?); the ring; the pick-up; the varying greetings (“What!”); talking; listening; the sign-off; the hang-up. Like Marclay’s later installation \u003ci>The Clock\u003c/i>, \u003ci>Telephones\u003c/i> provides fleeting thrills of recognition in familiar scenes and actors, but also dissects the tropes of both movie-making and human conversations. It’s elemental and deeply satisfying, a seven-minute video well worth sitting through twice.\u003c/p>\n\u003cp>After all, when you’re the only one in \u003ci>I’m Not the Only One\u003c/i>, your pace through the exhibition is governed only by Fraenkel’s other appointments and personal whims. It’s reassuring to spend time with a show that attempts to make sense of the current moment, bringing together, like Henner’s video, multiple voices into one asynchronous chorus. Self-guided, lingering according to individual preference and a gentle curatorial nudge, we might even find less repetitive ways for messages to seep into our consciousness.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘I’m Not the Only One’ is on view at Fraenkel Gallery (49 Geary, San Francisco) and online through Oct. 24. \u003ca href=\"https://fraenkelgallery.com/exhibitions/im-not-the-only-one\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In the group show, images of aloneness speak to our shared, separate experiences during 2020.","status":"publish","parent":0,"modified":1705020104,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":998},"headData":{"title":"On Being the Only One in Fraenkel Gallery’s ‘I’m Not the Only One’ | KQED","description":"In the group show, images of aloneness speak to our shared, separate experiences during 2020.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Being the Only One in Fraenkel Gallery’s ‘I’m Not the Only One’","datePublished":"2020-09-21T23:25:24.000Z","dateModified":"2024-01-12T00:41:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886602/im-not-the-only-one-review-fraenkel-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who has worked in a gallery or museum can attest to the lasting memory grooves a looped audio or video piece can cut into your brain. One particular animated video from a summer group show has cycled slightly below the surface of my consciousness for nearly 15 years. Its nonsense refrain—“Farmer Jones brand!”—haunts me to this day.\u003c/p>\n\u003cp>This will not be the case, fortunately, for the employees of Fraenkel Gallery during the span of \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/im-not-the-only-one\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Not the Only One\u003c/a>\u003c/i>. For though the show opens with a video piece by Mishka Henner (the show’s namesake), current by-appointment circumstances allow for the video to be stopped and started at will, to suit the needs of a particular audience.\u003c/p>\n\u003cp>It’s a private, customizable experience—one that could be, well, \u003ci>lonely\u003c/i>. But \u003ci>I’m Not the Only One\u003c/i> takes that condition in stride, filling the gallery’s three rooms with images of aloneness, an altogether comforting gathering that speaks to our shared yet separate experiences during 2020. Curated by gallery president Frish Brandt with input from staff, and drawn mostly from Fraenkel’s own holdings (a brand-new work by Elisheva Biernoff is a standout), it’s a showcase of their deep back catalog.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TBa4bwK4iiA'\n title='//www.youtube.com/embed/TBa4bwK4iiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even that is reassuring: it proves that aloneness has been a recurring theme across decades and media, for artists whose names are now lost to time, as well as those who have become household names. For every distressing, seemingly incomprehensible set of circumstances, artists have created ways to process that distress, even if none of them could have foreseen the particular circumstances of today.\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 cacophony of Henner’s \u003ci>I’m Not the Only One\u003c/i> (a video collage of found YouTube clips: people singing Sam Smith’s broken-hearted song of the same name) gives way to a wall hung salon-style, covered in nearly two dozen prints. Generally featuring just one isolated figure each, these photographic works show people doing the things we’ve been doing recently to stave off panic (reading, futzing about the house, drinking with neighbors across fence lines), or wish we could do (see a movie, hug a friend).\u003c/p>\n\u003cp>Details are worth lingering over. E.J. Bellocq’s \u003ci>Storyville Portrait\u003c/i> pictures a woman in dramatic striped tights sitting next to a collection of miniature chairs topped with feathers. (These objects are strange and fantastical, especially because the image offers no explanation for them.) Up high, Wardell Milan’s mixed media work \u003ci>Edward\u003c/i> fragments a man’s athletic body, reducing his torso and legs to a single curve.\u003c/p>\n\u003cfigure id=\"attachment_13886604\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13886604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/fraenkelgallery-jason-fulford-pompeii-2010_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Fulford, ‘Pompeii,’ 2010. \u003ccite>(© Jason Fulford, courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, people give up their activities to lay prone, whether in sex, sleep or death. These photographs can be intimate (Peter Hujar’s portraits of Chuck Gretsch and David Wojnarowicz) or maintain a conceptual remove (Sophie Calle’s photographs of a stranger she invited to sleep in her bed). Adam Fuss’ daguerreotype of an empty mattress and Jason Fulford’s image of a tourist leaning to inspect a display at Pompeii connect the horizontality of the gallery’s works to all bodies’ inevitable conclusion. With Fulford’s image, in particular, I couldn’t help but mimic the pose of the woman getting a closer look at a body cast from hallowed ash. Indeed, we are all bending towards the horizontal. (Such thoughts are closer at hand during the pandemic.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13886069","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Lest things get too introspective, the final room of the show zooms back out into a wider world, with human figures dwarfed by natural surroundings. In these works, it is the distances between bodies that become visible, whether in the tiny anonymous print of gray figures on a foggy beach, or in Richard Misrach’s images of Boy Scouts in Nevada’s Pyramid Lake. In Johnnie Chatman’s series of self-portraits, he becomes a silhouette surrounded by both epic and mundane nature. The unseen expanses between these map points (his body, the centrally located pin in each frame) form a network of selves crisscrossing the North American continent. It’s a physical version of what many of us have been doing for some time now: sending written, visual and audio representations of our stationary selves across great distances.\u003c/p>\n\u003cfigure id=\"attachment_13886606\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/JCH-0101_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/JCH-0101_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Johnnie Chatman, ‘Self Portrait, John Ford Point,’ 2018. \u003ccite>(© Johnnie Chatman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s final work animates that network in the form of Christian Marclay’s 1995 video \u003ci>Telephones\u003c/i>. In clips from films, actors move through the steps of a telephone call: dialing a number (remember how long it took to dial 9s on rotary phones?); the ring; the pick-up; the varying greetings (“What!”); talking; listening; the sign-off; the hang-up. Like Marclay’s later installation \u003ci>The Clock\u003c/i>, \u003ci>Telephones\u003c/i> provides fleeting thrills of recognition in familiar scenes and actors, but also dissects the tropes of both movie-making and human conversations. It’s elemental and deeply satisfying, a seven-minute video well worth sitting through twice.\u003c/p>\n\u003cp>After all, when you’re the only one in \u003ci>I’m Not the Only One\u003c/i>, your pace through the exhibition is governed only by Fraenkel’s other appointments and personal whims. It’s reassuring to spend time with a show that attempts to make sense of the current moment, bringing together, like Henner’s video, multiple voices into one asynchronous chorus. Self-guided, lingering according to individual preference and a gentle curatorial nudge, we might even find less repetitive ways for messages to seep into our consciousness.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘I’m Not the Only One’ is on view at Fraenkel Gallery (49 Geary, San Francisco) and online through Oct. 24. \u003ca href=\"https://fraenkelgallery.com/exhibitions/im-not-the-only-one\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886602/im-not-the-only-one-review-fraenkel-gallery","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10126","arts_10278","arts_3740","arts_822","arts_769","arts_585"],"featImg":"arts_13886617","label":"arts_140"},"arts_13861024":{"type":"posts","id":"arts_13861024","meta":{"index":"posts_1591205157","site":"arts","id":"13861024","score":null,"sort":[1562710018000]},"guestAuthors":[],"slug":"lee-friedlanders-signs-of-the-times-at-fraenkel-gallery","title":"Lee Friedlander’s ‘Signs’ of the Times at Fraenkel Gallery","publishDate":1562710018,"format":"standard","headTitle":"Lee Friedlander’s ‘Signs’ of the Times at Fraenkel Gallery | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Depending on who you ask, the name “Lee Friedlander” means different things. \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">For some\u003c/a> , he’s the photographer behind dozens of \u003ca href=\"http://www.birkajazz.com/archive/atlantic.htm\" rel=\"noopener\" target=\"_blank\">iconic jazz album covers\u003c/a> put out by Atlantic Records in the 50s and 60s. To me, he’s the inventive and tireless chronicler of everyday America, or as San Francisco’s Fraenkel Gallery calls it, a photographer of “the American social landscape.”\u003c/p>\n\u003cp>And what could be more American, more everyday, or more a part of the social landscape than signs? Fraenkel’s factually titled \u003ci>SIGNS\u003c/i>, opening July 11, gathers five decades of Friedlander’s obsession with storefront windows, roadside billboards, hand-lettered ads and off-kilter notices. (Look closely and you’ll spot Friedlander in some of these images, many made while he crisscrossed the United States by car—reflected in a shop’s glass or in his rear-view mirror.) \u003c/p>\n\u003cp>\u003ci>SIGNS\u003c/i>’ temporal span produces a journey of its own. Crude signs of the 60s give way to scenes like 1974 New York City, where a giant Coca-Cola sign rises above a chaotic framework of ticket stands. As America grows up, its signs get more sleeker, bigger, less general and more brand-specific.\u003c/p>\n\u003cp>For those who want to spend even more time with Friedlander’s images than a casual gallery visit allows, the exhibition also marks the release of \u003ca href=\"https://fraenkelgallery.com/publications/lee-friedlander-signs\" rel=\"noopener\" target=\"_blank\">an accompanying book\u003c/a> published by Fraenkel Gallery, a collection of 144 sign-related photographs. Friedlander himself, now 84, will be present for a book signing on Saturday, July 13, 1–3pm. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Five decades of the photographer's obsession with billboards, storefront windows and off-kilter notices tell a story of the American social landscape.","status":"publish","parent":0,"modified":1705022561,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":272},"headData":{"title":"Lee Friedlander’s ‘Signs’ of the Times at Fraenkel Gallery | KQED","description":"Five decades of the photographer's obsession with billboards, storefront windows and off-kilter notices tell a story of the American social landscape.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lee Friedlander’s ‘Signs’ of the Times at Fraenkel Gallery","datePublished":"2019-07-09T22:06:58.000Z","dateModified":"2024-01-12T01:22:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1562832000,"endTime":1566108000,"startTimeString":"July 11–Aug. 17","venueName":"Fraenkel Gallery","venueAddress":"49 Geary St., 4th Floor, San Francisco","eventLink":"https://fraenkelgallery.com/exhibitions/lee-friedlander-signs","path":"/arts/13861024/lee-friedlanders-signs-of-the-times-at-fraenkel-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on who you ask, the name “Lee Friedlander” means different things. \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">For some\u003c/a> , he’s the photographer behind dozens of \u003ca href=\"http://www.birkajazz.com/archive/atlantic.htm\" rel=\"noopener\" target=\"_blank\">iconic jazz album covers\u003c/a> put out by Atlantic Records in the 50s and 60s. To me, he’s the inventive and tireless chronicler of everyday America, or as San Francisco’s Fraenkel Gallery calls it, a photographer of “the American social landscape.”\u003c/p>\n\u003cp>And what could be more American, more everyday, or more a part of the social landscape than signs? Fraenkel’s factually titled \u003ci>SIGNS\u003c/i>, opening July 11, gathers five decades of Friedlander’s obsession with storefront windows, roadside billboards, hand-lettered ads and off-kilter notices. (Look closely and you’ll spot Friedlander in some of these images, many made while he crisscrossed the United States by car—reflected in a shop’s glass or in his rear-view mirror.) \u003c/p>\n\u003cp>\u003ci>SIGNS\u003c/i>’ temporal span produces a journey of its own. Crude signs of the 60s give way to scenes like 1974 New York City, where a giant Coca-Cola sign rises above a chaotic framework of ticket stands. As America grows up, its signs get more sleeker, bigger, less general and more brand-specific.\u003c/p>\n\u003cp>For those who want to spend even more time with Friedlander’s images than a casual gallery visit allows, the exhibition also marks the release of \u003ca href=\"https://fraenkelgallery.com/publications/lee-friedlander-signs\" rel=\"noopener\" target=\"_blank\">an accompanying book\u003c/a> published by Fraenkel Gallery, a collection of 144 sign-related photographs. Friedlander himself, now 84, will be present for a book signing on Saturday, July 13, 1–3pm. \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/13861024/lee-friedlanders-signs-of-the-times-at-fraenkel-gallery","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3740","arts_822","arts_1334"],"featImg":"arts_13861025","label":"arts_140"},"arts_13853272":{"type":"posts","id":"arts_13853272","meta":{"index":"posts_1591205157","site":"arts","id":"13853272","score":null,"sort":[1553034649000]},"guestAuthors":[],"slug":"fries-with-that-serves-up-darkly-humorous-photo-show-with-a-side-of-ketchup","title":"‘Fries With That’ Serves Up Darkly Humorous Photo Show, And a Side of Ketchup","publishDate":1553034649,"format":"standard","headTitle":"‘Fries With That’ Serves Up Darkly Humorous Photo Show, And a Side of Ketchup | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Jordan Stein’s been working on a joke. “You might not like it,” he says. “It’s a Jewish joke.”\u003c/p>\n\u003cp>The build-up is full of anxiety and hand-wringing: a miserable man experiencing the brunt of life’s woes details his misfortunes to a waitress along with an order for a hamburger, rare. “What a day, what a day,” he says, head in his hands.\u003c/p>\n\u003cp>She barely looks up. “Fries with that?” she asks.\u003c/p>\n\u003cp>\u003ci>Ba-dum tss!\u003c/i>\u003c/p>\n\u003cp>It’s not what I’d call a great joke, but a chuckle escapes me nonetheless. Even though I saw it coming from a hundred miles away, it’s still a nice lesson in how little other people care about your problems. And it’s fundamentally funny (maybe not ha-ha funny, but definitely odd funny) to see a show title reverse-engineered into a joke.\u003c/p>\n\u003cfigure id=\"attachment_13853282\" class=\"wp-caption aligncenter\" style=\"max-width: 1964px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb.jpg\" alt=\"Installation view of 'Fries With That...?' L: Photographer unknown, [Men in swim trunks], ca. 1950; R: Photographer unknown, 'Untitled,' ca. 1960.\" width=\"1964\" height=\"1105\" class=\"size-full wp-image-13853282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb.jpg 1964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1920x1080.jpg 1920w\" sizes=\"(max-width: 1964px) 100vw, 1964px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Fries With That…?’ L: Photographer unknown, [Men in swim trunks], ca. 1950; R: Photographer unknown, ‘Untitled,’ ca. 1960. \u003ccite>(Courtesy 3320 18th Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re standing in the midst of \u003ci>Fries With That…?\u003c/i> at 3320 18th Street, a photography exhibition curated by Jeffrey Fraenkel (of the \u003ca href=\"https://fraenkelgallery.com/\" rel=\"noopener\" target=\"_blank\">eponymous 49 Geary gallery\u003c/a>) from the “more unorthodox depths” of the gallery’s holdings. The selected works, the exhibition description continues, are there because they “would not fit comfortably in any exhibition not titled \u003ci>Fries With That…?\u003c/i>”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(You can see a bit of circular logic forming.) \u003c/p>\n\u003cp>The exhibition itself is no joke. I’d describe it instead as a strange and satisfying viewing experience. The show is full of rare prints by established artists (an early Diane Arbus, a pristine Carleton E. Watkins) hung side-by-side with images taken by unknown, possibly amateur photographers. There’s a simple pleasure in this curatorial democracy—but even without the help of the image list to put names, dates or the lack thereof to each picture, the sequencing provides the real thrill of \u003ci>Fries With That…?\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13853278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200.jpg\" alt=\"Photographer unknown, 'Gas Explosion at home on the corner of Buchanan and Grove, San Francisco,' June 6, 1938.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13853278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, ‘Gas Explosion at home on the corner of Buchanan and Grove, San Francisco,’ June 6, 1938.\u003cbr> \u003ccite>(Courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s more than just shared subject matter (young woman in a vampy pose on a bed next to a giant \u003ci>Psycho\u003c/i> poster featuring Janet Leigh on a bed), or formal similarities (Edouard Baldus’ train tracks beside an indecipherable lump of approximately the same triangular shape). \u003c/p>\n\u003cp>Fraenkel’s juxtapositions establish a rhythm or a status quo (say, banality) and then undermine that concept completely, a process most clearly demonstrated by a particularly hard-hitting five-image sequence. It begins with an aerial view of the French countryside before and after American bombs drop. Then, an image of a San Francisco home destroyed by a gas explosion, annotated to show where a body was found blown out of bed. Next, an Eadweard Muybridge collotype of a nude woman cheerfully getting under the covers. And finally: a Las Vegas neon sign reading “RELAX IN COMFORT.”\u003c/p>\n\u003cfigure id=\"attachment_13853280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640.jpg\" alt=\"Photographer unknown, [Woman in Fries Costume], date unknown.\" width=\"640\" height=\"945\" class=\"size-full wp-image-13853280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640-160x236.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, [Woman in Fries Costume], date unknown. \u003ccite>(Courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor of \u003ci>Fries With That…?\u003c/i> is dark. (It’s also punny: A framed photograph in a central vitrine displays two humerus bones—one human, one animal.)\u003c/p>\n\u003cp>The show came about as a result of Stein’s own guest curatorial gig at Fraenkel Gallery in July of last year. Fraenkel (the person) gave Stein free reign, even letting him title the show \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/earache-jordan-stein\" rel=\"noopener\" target=\"_blank\">Earache\u003c/a>\u003c/i>, despite the fact the gallerist much preferred what was to Stein the nonsensical title of \u003ci>Fries With That…?\u003c/i> So Stein thought he’d repay the favor: white walls, full curatorial powers and the liberty to name the show after a particularly American turn of phrase meant to push more fried objects onto fast food trays. \u003c/p>\n\u003cp>It helps there is a site-specificity to it all: 3320 18th is directly across the street from the venerable Mission district joint Whiz Burger. For the opening, the gallery secured 14 large orders of fries and a seven-pound bag of ketchup. \u003c/p>\n\u003cp>Throughout, Fraenkel equates cut-and-fried potatoes with prone bodies, the insides of bodies and the spiritual yearnings of bodies (spend as much time as you can with E.O. Goldbeck’s panorama of a San Antonio baptism). The result is a circular journey well worth taking—a journey that ends with a woman in a fries costume, her arms pinned inside, preventing her from waving goodbye. It’s a macabre, nihilistic and ultimately reassuring show—the waitress doesn’t care about your sob story, but you can rely on her to ask you if you want fries with that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fries With That…?’ is on view at 3320 18th Street, San Francisco on Thursdays and Saturdays through March 30, and by appointment. \u003ca href=\"http://cushionworks.info/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"An exhibition at 3320 18th Street, curated by Jeffrey Fraenkel, illustrates a macabre spin on a very American turn of phrase. ","status":"publish","parent":0,"modified":1705026462,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":845},"headData":{"title":"‘Fries With That’ Serves Up Darkly Humorous Photo Show, And a Side of Ketchup | KQED","description":"An exhibition at 3320 18th Street, curated by Jeffrey Fraenkel, illustrates a macabre spin on a very American turn of phrase. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Fries With That’ Serves Up Darkly Humorous Photo Show, And a Side of Ketchup","datePublished":"2019-03-19T22:30:49.000Z","dateModified":"2024-01-12T02:27:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13853272/fries-with-that-serves-up-darkly-humorous-photo-show-with-a-side-of-ketchup","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jordan Stein’s been working on a joke. “You might not like it,” he says. “It’s a Jewish joke.”\u003c/p>\n\u003cp>The build-up is full of anxiety and hand-wringing: a miserable man experiencing the brunt of life’s woes details his misfortunes to a waitress along with an order for a hamburger, rare. “What a day, what a day,” he says, head in his hands.\u003c/p>\n\u003cp>She barely looks up. “Fries with that?” she asks.\u003c/p>\n\u003cp>\u003ci>Ba-dum tss!\u003c/i>\u003c/p>\n\u003cp>It’s not what I’d call a great joke, but a chuckle escapes me nonetheless. Even though I saw it coming from a hundred miles away, it’s still a nice lesson in how little other people care about your problems. And it’s fundamentally funny (maybe not ha-ha funny, but definitely odd funny) to see a show title reverse-engineered into a joke.\u003c/p>\n\u003cfigure id=\"attachment_13853282\" class=\"wp-caption aligncenter\" style=\"max-width: 1964px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb.jpg\" alt=\"Installation view of 'Fries With That...?' L: Photographer unknown, [Men in swim trunks], ca. 1950; R: Photographer unknown, 'Untitled,' ca. 1960.\" width=\"1964\" height=\"1105\" class=\"size-full wp-image-13853282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb.jpg 1964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-Install-View_COVERb-1920x1080.jpg 1920w\" sizes=\"(max-width: 1964px) 100vw, 1964px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Fries With That…?’ L: Photographer unknown, [Men in swim trunks], ca. 1950; R: Photographer unknown, ‘Untitled,’ ca. 1960. \u003ccite>(Courtesy 3320 18th Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re standing in the midst of \u003ci>Fries With That…?\u003c/i> at 3320 18th Street, a photography exhibition curated by Jeffrey Fraenkel (of the \u003ca href=\"https://fraenkelgallery.com/\" rel=\"noopener\" target=\"_blank\">eponymous 49 Geary gallery\u003c/a>) from the “more unorthodox depths” of the gallery’s holdings. The selected works, the exhibition description continues, are there because they “would not fit comfortably in any exhibition not titled \u003ci>Fries With That…?\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>(You can see a bit of circular logic forming.) \u003c/p>\n\u003cp>The exhibition itself is no joke. I’d describe it instead as a strange and satisfying viewing experience. The show is full of rare prints by established artists (an early Diane Arbus, a pristine Carleton E. Watkins) hung side-by-side with images taken by unknown, possibly amateur photographers. There’s a simple pleasure in this curatorial democracy—but even without the help of the image list to put names, dates or the lack thereof to each picture, the sequencing provides the real thrill of \u003ci>Fries With That…?\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13853278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200.jpg\" alt=\"Photographer unknown, 'Gas Explosion at home on the corner of Buchanan and Grove, San Francisco,' June 6, 1938.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13853278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_Fries-With-That_Gas-Explosion-at-home-on-the-corner-of-Buchanan-and-Grove_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, ‘Gas Explosion at home on the corner of Buchanan and Grove, San Francisco,’ June 6, 1938.\u003cbr> \u003ccite>(Courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s more than just shared subject matter (young woman in a vampy pose on a bed next to a giant \u003ci>Psycho\u003c/i> poster featuring Janet Leigh on a bed), or formal similarities (Edouard Baldus’ train tracks beside an indecipherable lump of approximately the same triangular shape). \u003c/p>\n\u003cp>Fraenkel’s juxtapositions establish a rhythm or a status quo (say, banality) and then undermine that concept completely, a process most clearly demonstrated by a particularly hard-hitting five-image sequence. It begins with an aerial view of the French countryside before and after American bombs drop. Then, an image of a San Francisco home destroyed by a gas explosion, annotated to show where a body was found blown out of bed. Next, an Eadweard Muybridge collotype of a nude woman cheerfully getting under the covers. And finally: a Las Vegas neon sign reading “RELAX IN COMFORT.”\u003c/p>\n\u003cfigure id=\"attachment_13853280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640.jpg\" alt=\"Photographer unknown, [Woman in Fries Costume], date unknown.\" width=\"640\" height=\"945\" class=\"size-full wp-image-13853280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fries-With-That_Woman-in-Fries-Costume_640-160x236.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, [Woman in Fries Costume], date unknown. \u003ccite>(Courtesy Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor of \u003ci>Fries With That…?\u003c/i> is dark. (It’s also punny: A framed photograph in a central vitrine displays two humerus bones—one human, one animal.)\u003c/p>\n\u003cp>The show came about as a result of Stein’s own guest curatorial gig at Fraenkel Gallery in July of last year. Fraenkel (the person) gave Stein free reign, even letting him title the show \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/earache-jordan-stein\" rel=\"noopener\" target=\"_blank\">Earache\u003c/a>\u003c/i>, despite the fact the gallerist much preferred what was to Stein the nonsensical title of \u003ci>Fries With That…?\u003c/i> So Stein thought he’d repay the favor: white walls, full curatorial powers and the liberty to name the show after a particularly American turn of phrase meant to push more fried objects onto fast food trays. \u003c/p>\n\u003cp>It helps there is a site-specificity to it all: 3320 18th is directly across the street from the venerable Mission district joint Whiz Burger. For the opening, the gallery secured 14 large orders of fries and a seven-pound bag of ketchup. \u003c/p>\n\u003cp>Throughout, Fraenkel equates cut-and-fried potatoes with prone bodies, the insides of bodies and the spiritual yearnings of bodies (spend as much time as you can with E.O. Goldbeck’s panorama of a San Antonio baptism). The result is a circular journey well worth taking—a journey that ends with a woman in a fries costume, her arms pinned inside, preventing her from waving goodbye. It’s a macabre, nihilistic and ultimately reassuring show—the waitress doesn’t care about your sob story, but you can rely on her to ask you if you want fries with that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fries With That…?’ is on view at 3320 18th Street, San Francisco on Thursdays and Saturdays through March 30, and by appointment. \u003ca href=\"http://cushionworks.info/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853272/fries-with-that-serves-up-darkly-humorous-photo-show-with-a-side-of-ketchup","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_1118","arts_1297","arts_3740","arts_596","arts_822"],"featImg":"arts_13853281","label":"arts_140"},"arts_13819982":{"type":"posts","id":"arts_13819982","meta":{"index":"posts_1591205157","site":"arts","id":"13819982","score":null,"sort":[1516848614000]},"guestAuthors":[],"slug":"on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","publishDate":1516848614,"format":"audio","headTitle":"On the Air: Cy and Ariana’s Do List Picks for Jan. 26, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","status":"publish","parent":0,"modified":1705028697,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":223},"headData":{"title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018 | KQED","description":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","datePublished":"2018-01-25T02:50:14.000Z","dateModified":"2024-01-12T03:04:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180126.mp3","sticky":false,"path":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\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>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_69","arts_1003","arts_75","arts_967","arts_70"],"tags":["arts_3713","arts_2991","arts_1118","arts_3740","arts_3649","arts_2520","arts_1006","arts_3716","arts_3727","arts_2335","arts_596","arts_1072","arts_2323","arts_20228"],"featImg":"arts_13819896","label":"arts_140"},"arts_13819909":{"type":"posts","id":"arts_13819909","meta":{"index":"posts_1591205157","site":"arts","id":"13819909","score":null,"sort":[1516844593000]},"guestAuthors":[],"slug":"at-the-intersection-of-art-and-vinyl","title":"At the Intersection of Art and Vinyl","publishDate":1516844593,"format":"standard","headTitle":"At the Intersection of Art and Vinyl | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I’m old enough to remember what it was like to spend hours listening to records with nothing more to look at than the album covers, which ranged from Blue Note’s black-and-white photographs of intense stares in smoky studios, to the Beatles’ \u003cem>Sgt. Pepper’s\u003c/em> with its intricate arrangement of subjects and range of meaning. Now, the Fraenkel Gallery in San Francisco hosts a show celebrating album covers designed by artists who made their name in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13819911\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg\" alt=\"Pablo Picasso's painting of a dove decorates Paul Robeson's 'Songs of Peace' from 1949 at the Fraenkel Gallery in San Francisco\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-768x743.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1020x987.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1920x1858.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1180x1142.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-960x929.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-520x503.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso’s painting of a dove decorates Paul Robeson’s ‘Songs of Peace’ from 1949 at the Fraenkel Gallery in San Francisco. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oldest on display is a depiction by Pablo Picasso of a white dove, printed directly onto the surface of a Paul Robeson album called \u003cem>Songs of Peace\u003c/em> from 1949. There’s more recent work by Cindy Sherman and Sol Lewitt; Takashi Murakami’s cover for \u003cem>Graduation\u003c/em> by Kanye West; and Jeff Koons’ collaboration with Lady Gaga. Gerhard Richter painted directly onto an LP of Glenn Gould’s \u003cem>Goldberg Variations\u003c/em>, rendering the album unplayable. The exhibit also features four examples of cover work by Andy Warhol, including his peelable banana for \u003cem>The Velvet Underground and Nico\u003c/em>, and the Mick Jagger crotch with a working zipper on the cover of \u003cem>Sticky Fingers\u003c/em> by the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13819913\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg\" alt=\"This rare painting by Gerhard Richter is brushed directly on a copy of the Goldberg Variations recorded by Glenn Gould\" width=\"800\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1920x1941.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1180x1193.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This rare painting by Gerhard Richter is brushed directly on a copy of ‘The Goldberg Variations,’ recorded by Glenn Gould. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery co-owner Jeffrey Fraenkel says the collection is a testimony to the passion of French rare book dealer Antoine de Beaupré, who assembled the collection. “We are pitched a lot of inventive ideas all the time. This was a no-brainer. This was like, ‘Whoa!’ That has never been done before. It is such a fresh take on things.”\u003c/p>\n\u003cp>One suggestion: bring your smartphone and earbuds, and if you’ve got a streaming subscription, listen to cuts from the albums as you peruse the exhibit. The show runs Jan. 4–March 3 at the Fraenkel Gallery in San Francisco; admission is free. Details \u003ca href=\"https://fraenkelgallery.com/exhibitions/art-vinyl\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13819914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg\" alt=\"Andy Warhol's cover for 'Sticky Fingers' by the Rolling Stones is part of the exhibit 'Art and Vinyl' at the Fraenkel Gallery\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol’s cover for ‘Sticky Fingers’ by the Rolling Stones is part of the exhibit ‘Art and Vinyl’ at the Fraenkel Gallery \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A gallery show celebrates the work of artists illustrating and designing album covers.","status":"publish","parent":0,"modified":1705028706,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":413},"headData":{"title":"At the Intersection of Art and Vinyl | KQED","description":"A gallery show celebrates the work of artists illustrating and designing album covers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the Intersection of Art and Vinyl","datePublished":"2018-01-25T01:43:13.000Z","dateModified":"2024-01-12T03:05:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13819909/at-the-intersection-of-art-and-vinyl","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m old enough to remember what it was like to spend hours listening to records with nothing more to look at than the album covers, which ranged from Blue Note’s black-and-white photographs of intense stares in smoky studios, to the Beatles’ \u003cem>Sgt. Pepper’s\u003c/em> with its intricate arrangement of subjects and range of meaning. Now, the Fraenkel Gallery in San Francisco hosts a show celebrating album covers designed by artists who made their name in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13819911\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg\" alt=\"Pablo Picasso's painting of a dove decorates Paul Robeson's 'Songs of Peace' from 1949 at the Fraenkel Gallery in San Francisco\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-800x774.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-768x743.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1020x987.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1920x1858.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-1180x1142.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-960x929.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-520x503.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Paul-Robeson-Pablo-Picasso-e1516835461100.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pablo Picasso’s painting of a dove decorates Paul Robeson’s ‘Songs of Peace’ from 1949 at the Fraenkel Gallery in San Francisco. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oldest on display is a depiction by Pablo Picasso of a white dove, printed directly onto the surface of a Paul Robeson album called \u003cem>Songs of Peace\u003c/em> from 1949. There’s more recent work by Cindy Sherman and Sol Lewitt; Takashi Murakami’s cover for \u003cem>Graduation\u003c/em> by Kanye West; and Jeff Koons’ collaboration with Lady Gaga. Gerhard Richter painted directly onto an LP of Glenn Gould’s \u003cem>Goldberg Variations\u003c/em>, rendering the album unplayable. The exhibit also features four examples of cover work by Andy Warhol, including his peelable banana for \u003cem>The Velvet Underground and Nico\u003c/em>, and the Mick Jagger crotch with a working zipper on the cover of \u003cem>Sticky Fingers\u003c/em> by the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13819913\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg\" alt=\"This rare painting by Gerhard Richter is brushed directly on a copy of the Goldberg Variations recorded by Glenn Gould\" width=\"800\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1920x1941.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-1180x1193.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GERHARD-RICHTER-Goldberg-Variations-1984.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This rare painting by Gerhard Richter is brushed directly on a copy of ‘The Goldberg Variations,’ recorded by Glenn Gould. \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery co-owner Jeffrey Fraenkel says the collection is a testimony to the passion of French rare book dealer Antoine de Beaupré, who assembled the collection. “We are pitched a lot of inventive ideas all the time. This was a no-brainer. This was like, ‘Whoa!’ That has never been done before. It is such a fresh take on things.”\u003c/p>\n\u003cp>One suggestion: bring your smartphone and earbuds, and if you’ve got a streaming subscription, listen to cuts from the albums as you peruse the exhibit. The show runs Jan. 4–March 3 at the Fraenkel Gallery in San Francisco; admission is free. Details \u003ca href=\"https://fraenkelgallery.com/exhibitions/art-vinyl\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13819914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg\" alt=\"Andy Warhol's cover for 'Sticky Fingers' by the Rolling Stones is part of the exhibit 'Art and Vinyl' at the Fraenkel Gallery\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Andy-Warhols-cover-for-Sticky-Fingers-by-the-Rolling-Stones-e1516835682361.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol’s cover for ‘Sticky Fingers’ by the Rolling Stones is part of the exhibit ‘Art and Vinyl’ at the Fraenkel Gallery \u003ccite>(Photo: Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\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/13819909/at-the-intersection-of-art-and-vinyl","authors":["32"],"programs":["arts_140"],"categories":["arts_69","arts_70"],"tags":["arts_3740","arts_596","arts_3741","arts_901"],"featImg":"arts_13819934","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You ask the questions. You decide what Bay Curious investigates. 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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. 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