Your Guide to the Bay Area's Best Art Exhibitions This Summer
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
A Sound Piece Updates San José With Big Picture Data Streams
At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity
Female Artists Resist Easy Interpretation in SJMA’s ‘Screen Acts’
Now Playing! Southeast Asian Film Asserts Itself in San Jose and Beyond
There Was So Much More to Jay DeFeo Than ‘The Rose’
'Suffragette City' Delivers A Feminist Call to Arms in Downtown San Jose
Timely ‘House Imaginary’ Reflects on Memories and Meanings of Home
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. 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Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. 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There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>[aside postID='arts_13924661']Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n","blocks":[],"excerpt":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","status":"publish","parent":0,"modified":1705005474,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1623},"headData":{"title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer | KQED","description":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\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>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924661","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\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>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2250","arts_10342","arts_2483","arts_10278","arts_3649","arts_1006","arts_6376","arts_2755","arts_1187","arts_1381","arts_20565","arts_585"],"featImg":"arts_13929092","label":"source_arts_13929082"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13903039":{"type":"posts","id":"arts_13903039","meta":{"index":"posts_1591205157","site":"arts","id":"13903039","score":null,"sort":[1630352285000]},"guestAuthors":[],"slug":"a-sound-piece-updates-san-jose-with-big-picture-data-streams","title":"A Sound Piece Updates San José With Big Picture Data Streams","publishDate":1630352285,"format":"standard","headTitle":"A Sound Piece Updates San José With Big Picture Data Streams | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While this show is technically inside the San José Museum of Art, 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). \u003c/p>\n\u003cp>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\u003cp>\u003ci>‘\u003ca href=\"https://sjmusart.org/exhibition/beta-space-trevor-paglen\" rel=\"noopener noreferrer\" target=\"_blank\">Beta Space: Trevor Paglen\u003c/a>’ is audible Nov. 5, 2021–Nov. 6, 2022 at the San José Museum of Art.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Trevor Paglen’s installation at the San José Museum of Art issues regular announcements about local and global facts.","status":"publish","parent":0,"modified":1705007867,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":153},"headData":{"title":"A Sound Piece Updates San José With Big Picture Data Streams | KQED","description":"Trevor Paglen’s installation at the San José Museum of Art issues regular announcements about local and global facts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903039/a-sound-piece-updates-san-jose-with-big-picture-data-streams","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While this show is technically inside the San José Museum of Art, 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). \u003c/p>\n\u003cp>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\u003cp>\u003ci>‘\u003ca href=\"https://sjmusart.org/exhibition/beta-space-trevor-paglen\" rel=\"noopener noreferrer\" target=\"_blank\">Beta Space: Trevor Paglen\u003c/a>’ is audible Nov. 5, 2021–Nov. 6, 2022 at the San José Museum of Art.\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/13903039/a-sound-piece-updates-san-jose-with-big-picture-data-streams","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1187","arts_585","arts_901"],"featImg":"arts_13902044","label":"arts_140"},"arts_13864898":{"type":"posts","id":"arts_13864898","meta":{"index":"posts_1591205157","site":"arts","id":"13864898","score":null,"sort":[1567774858000]},"guestAuthors":[],"slug":"sjma-rina-banerjees-make-me-a-summary-of-the-world","title":"At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity","publishDate":1567774858,"format":"standard","headTitle":"At SJMA, Rina Banerjee’s Retrospective Embraces a Fluid Complexity | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When I stepped inside New York-based artist Rina Banerjee’s flamingo-pink, floating Taj Mahal, it felt like the artist had wrapped me in a valentine the size of a small house. The sculpture \u003cem>Take me, take me, take me…to the Palace of love\u003c/em> is suspended from the ceiling at the San Jose Museum of Art, held aloft by wires a few feet above the ground. It’s not an exact replica of Shah Jahan’s memorial to his wife Mumtaz, but you can’t mistake the turrets and distinctive window shapes for any other structure on Earth.\u003c/p>\n\u003cp>\u003cem>Make Me a Summary of the World\u003c/em>—Banerjee’s career retrospective, first shown at the Pennsylvania Academy of Fine Arts and on a U.S. tour that runs through 2021—fills three galleries on the SJMA’s top floor with so many sculptures and paintings they spill out into the hallways. Nothing about her work suggests containment. Even the acrylic paintings that simulate watercolors bleed into and past the edges of their frames. Meanings, too, and when and where you can find or interpret them, are just as fluid.\u003c/p>\n\u003cfigure id=\"attachment_13864903\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg\" alt=\"Rina Banerjee, 'The world as burnt fruit...,’ 2009.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘The world as burnt fruit…,’ 2009. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In PAFA curator Jodi Throckmorton’s essay in the exhibition catalog, she writes, “Despite its obvious beauty and sensuality, Banerjee’s work oozes with this Orientalist unease: her gold-threaded fabrics, jeweled surfaces and Anglo-Indian antiques are steeped in the atrocities of colonialism.” (The retrospective is co-curated by the SJMA’s Lauren Schell Dickens.) After reading this, I felt guilty I’d taken such pleasure in not only \u003cem>Palace of love\u003c/em>, but in each subsequent visit I made to the show.\u003c/p>\n\u003cp>I wasn’t ignoring the sharp, pointed horns that jut out of a dozen sculptures, or the splendid row of gharial crocodile teeth in \u003cem>The world as burnt fruit\u003c/em>. I looked closely at the acrylic ink on paper piece \u003cem>Queen of Cuddles\u003c/em>, a demon-faced mergirl lashing out with her long, froggy tongue. But I didn’t recoil from her zoological phantasms or their sense of menace.\u003c/p>\n\u003cp>Instead, I was dazzled by Banerjee’s approach to organizing glass vials, cowrie shells and feathers into strangely organic arrangements of disparate parts. She’s a re-animator, making new and unfamiliar beasts rise up from death. The intricacy of her nests within nests, within even more nests, indicate that she learned from industrious birds how to recreate their homes.\u003c/p>\n\u003cfigure id=\"attachment_13864907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg\" alt=\"Rina Banerjee, 'Infectious Migrations,’ 1999.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Infectious Migrations,’ 1999. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where an academic might be more inclined to identify such themes as globalism or the fungibility of cultural and gender identities, I marveled at her skills and suspended any analytic response. That is, until I spoke with Banerjee on the phone. I asked her about that tension—between the surface level beauty and the underlying narratives that contradict or undermine it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of the subject matter that you mention [i.e. globalism, identity] can essentially be communicated as colors and shapes,” she says. “It’s an abstract language, then, to them [the viewers]. But it carries that meaning, and I think that that becomes a contagion. It will inform them.”\u003c/p>\n\u003cp>For the artist, my uncontaminated response to \u003cem>Palace of love\u003c/em> was forgivably naive. “For me, it has dark things to say. It really references what became the popularity of a legend as it became a recognizable building, edifice, throughout the world, in a very pop culture way,” she says. People are attracted to the romance of the Taj Mahal, and also to the romance of the colonial period. What we forget about, Banerjee explains, are the laborers who gave their lives in order to create these architectural wonders for posterity.\u003c/p>\n\u003cfigure id=\"attachment_13864909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg\" alt=\"Rina Banerjee, 'Make me a summary of the world!,’ 2014.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Make me a summary of the world!,’ 2014. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee manages to create her sculptures from hundreds and often thousands of distinctive elements by not having an architectural plan. “You really have to make something that is a little bit of an idea in mind and a little bit of the unknown. The more ingredients you plan on using, in the end, allow you that kind of complexity,” she says.\u003c/p>\n\u003cp>The artist also questions simplistic attitudes toward the meaning of chaos. “Sometimes what you see that is unfamiliar gets defined as chaotic because you are uncomfortable with it, because you don’t see the kind of pattern that you are normally seeing, and so those things are very important in the work to consider.” She’s not interested in defeating chaos with order.\u003c/p>\n\u003cp>Banerjee’s earlier paintings were, she says, “much heavier and very pigmented.” She used mica, steel and iron powder to create “a minerality” on the surface. Only one painting from this series, made in 1994, is on view at SJMA. Then her practice shifted; she wanted to make things portable, faster and safer for her health. This newer series of “watercolors” is filled with air and light—it’s hard to connect their delicate teals and burnt magentas with the painting from 1994.\u003c/p>\n\u003cfigure id=\"attachment_13864910\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg\" alt=\"Rina Banerjee, 'A world lost,’ 2013.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘A world lost,’ 2013. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2003, she started to dilute acrylic paint, coupling it with watercolor paper to create floaty, washy effects. “It’s almost like it expands, and you can feel the movement of the water,” she says of this approach.\u003c/p>\n\u003cp>One of these works on paper, \u003cem>If lotion and potion could heal…\u003c/em>, features two finned humanoids with striped green skin. They float in briny leaves, weeds and flowers, attached to each other by their extended tongues. This is what love looks like when you’re swimming together in the deepest fathoms of infatuation.\u003c/p>\n\u003cfigure id=\"attachment_13865624\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png\" alt=\"Rina Banerjee, 'If lotion and potion could heal...' 2006.\" width=\"610\" height=\"465\" class=\"size-full wp-image-13865624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal...-160x122.png 160w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘If lotion and potion could heal…’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee believes that water itself is a good metaphor for mobility, saying, “We do not like boundaries at all.” At the SJMA, a docent admonished me for stepping too close to the expanse of sand that spreads across the floor beneath \u003cem>A World Lost…\u003c/em> I couldn’t help myself. I felt like a crow inexorably drawn toward Banerjee’s shiny dioramas, hypnotized by the shimmering colors and the sheer number of minute, unidentifiable objects.\u003c/p>\n\u003cp>That physical response says it all: The artist and curators might insist upon the meaning of every sculpture and painting in \u003ci>Make Me a Summary of the World\u003c/i>, but they can’t anticipate or account for the pleasure of discovering a miniature black rhinoceros nestled in a crown of driftwood; in seeing myself mirrored in the expression of a livid, dissipating goddess; or, in coming to the conclusion that all those fanned out, flushed pink feathers displayed Banerjee’s desire for flight.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Make Me a Summary of the World’ is on view at the San Jose Museum of Art through Oct. 6. \u003ca href=\"https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The New York artist's sculptures and paintings spill out into the hallways; nothing about her work suggests containment.","status":"publish","parent":0,"modified":1705022199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1197},"headData":{"title":"At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity | KQED","description":"The New York artist's sculptures and paintings spill out into the hallways; nothing about her work suggests containment.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1557993600,"endTime":1570428000,"startTimeString":"May 16–Oct. 6","venueName":"San Jose Museum of Art","venueAddress":"110 South Market St., San José","eventLink":"https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world","path":"/arts/13864898/sjma-rina-banerjees-make-me-a-summary-of-the-world","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I stepped inside New York-based artist Rina Banerjee’s flamingo-pink, floating Taj Mahal, it felt like the artist had wrapped me in a valentine the size of a small house. The sculpture \u003cem>Take me, take me, take me…to the Palace of love\u003c/em> is suspended from the ceiling at the San Jose Museum of Art, held aloft by wires a few feet above the ground. It’s not an exact replica of Shah Jahan’s memorial to his wife Mumtaz, but you can’t mistake the turrets and distinctive window shapes for any other structure on Earth.\u003c/p>\n\u003cp>\u003cem>Make Me a Summary of the World\u003c/em>—Banerjee’s career retrospective, first shown at the Pennsylvania Academy of Fine Arts and on a U.S. tour that runs through 2021—fills three galleries on the SJMA’s top floor with so many sculptures and paintings they spill out into the hallways. Nothing about her work suggests containment. Even the acrylic paintings that simulate watercolors bleed into and past the edges of their frames. Meanings, too, and when and where you can find or interpret them, are just as fluid.\u003c/p>\n\u003cfigure id=\"attachment_13864903\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg\" alt=\"Rina Banerjee, 'The world as burnt fruit...,’ 2009.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘The world as burnt fruit…,’ 2009. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In PAFA curator Jodi Throckmorton’s essay in the exhibition catalog, she writes, “Despite its obvious beauty and sensuality, Banerjee’s work oozes with this Orientalist unease: her gold-threaded fabrics, jeweled surfaces and Anglo-Indian antiques are steeped in the atrocities of colonialism.” (The retrospective is co-curated by the SJMA’s Lauren Schell Dickens.) After reading this, I felt guilty I’d taken such pleasure in not only \u003cem>Palace of love\u003c/em>, but in each subsequent visit I made to the show.\u003c/p>\n\u003cp>I wasn’t ignoring the sharp, pointed horns that jut out of a dozen sculptures, or the splendid row of gharial crocodile teeth in \u003cem>The world as burnt fruit\u003c/em>. I looked closely at the acrylic ink on paper piece \u003cem>Queen of Cuddles\u003c/em>, a demon-faced mergirl lashing out with her long, froggy tongue. But I didn’t recoil from her zoological phantasms or their sense of menace.\u003c/p>\n\u003cp>Instead, I was dazzled by Banerjee’s approach to organizing glass vials, cowrie shells and feathers into strangely organic arrangements of disparate parts. She’s a re-animator, making new and unfamiliar beasts rise up from death. The intricacy of her nests within nests, within even more nests, indicate that she learned from industrious birds how to recreate their homes.\u003c/p>\n\u003cfigure id=\"attachment_13864907\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg\" alt=\"Rina Banerjee, 'Infectious Migrations,’ 1999.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_c-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Infectious Migrations,’ 1999. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where an academic might be more inclined to identify such themes as globalism or the fungibility of cultural and gender identities, I marveled at her skills and suspended any analytic response. That is, until I spoke with Banerjee on the phone. I asked her about that tension—between the surface level beauty and the underlying narratives that contradict or undermine it.\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>“All of the subject matter that you mention [i.e. globalism, identity] can essentially be communicated as colors and shapes,” she says. “It’s an abstract language, then, to them [the viewers]. But it carries that meaning, and I think that that becomes a contagion. It will inform them.”\u003c/p>\n\u003cp>For the artist, my uncontaminated response to \u003cem>Palace of love\u003c/em> was forgivably naive. “For me, it has dark things to say. It really references what became the popularity of a legend as it became a recognizable building, edifice, throughout the world, in a very pop culture way,” she says. People are attracted to the romance of the Taj Mahal, and also to the romance of the colonial period. What we forget about, Banerjee explains, are the laborers who gave their lives in order to create these architectural wonders for posterity.\u003c/p>\n\u003cfigure id=\"attachment_13864909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg\" alt=\"Rina Banerjee, 'Make me a summary of the world!,’ 2014.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘Make me a summary of the world!,’ 2014. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee manages to create her sculptures from hundreds and often thousands of distinctive elements by not having an architectural plan. “You really have to make something that is a little bit of an idea in mind and a little bit of the unknown. The more ingredients you plan on using, in the end, allow you that kind of complexity,” she says.\u003c/p>\n\u003cp>The artist also questions simplistic attitudes toward the meaning of chaos. “Sometimes what you see that is unfamiliar gets defined as chaotic because you are uncomfortable with it, because you don’t see the kind of pattern that you are normally seeing, and so those things are very important in the work to consider.” She’s not interested in defeating chaos with order.\u003c/p>\n\u003cp>Banerjee’s earlier paintings were, she says, “much heavier and very pigmented.” She used mica, steel and iron powder to create “a minerality” on the surface. Only one painting from this series, made in 1994, is on view at SJMA. Then her practice shifted; she wanted to make things portable, faster and safer for her health. This newer series of “watercolors” is filled with air and light—it’s hard to connect their delicate teals and burnt magentas with the painting from 1994.\u003c/p>\n\u003cfigure id=\"attachment_13864910\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg\" alt=\"Rina Banerjee, 'A world lost,’ 2013.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13864910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Banerjee_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘A world lost,’ 2013. \u003ccite>(JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2003, she started to dilute acrylic paint, coupling it with watercolor paper to create floaty, washy effects. “It’s almost like it expands, and you can feel the movement of the water,” she says of this approach.\u003c/p>\n\u003cp>One of these works on paper, \u003cem>If lotion and potion could heal…\u003c/em>, features two finned humanoids with striped green skin. They float in briny leaves, weeds and flowers, attached to each other by their extended tongues. This is what love looks like when you’re swimming together in the deepest fathoms of infatuation.\u003c/p>\n\u003cfigure id=\"attachment_13865624\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png\" alt=\"Rina Banerjee, 'If lotion and potion could heal...' 2006.\" width=\"610\" height=\"465\" class=\"size-full wp-image-13865624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal....png 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/If-lotion-and-potion-could-heal...-160x122.png 160w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Rina Banerjee, ‘If lotion and potion could heal…’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Banerjee believes that water itself is a good metaphor for mobility, saying, “We do not like boundaries at all.” At the SJMA, a docent admonished me for stepping too close to the expanse of sand that spreads across the floor beneath \u003cem>A World Lost…\u003c/em> I couldn’t help myself. I felt like a crow inexorably drawn toward Banerjee’s shiny dioramas, hypnotized by the shimmering colors and the sheer number of minute, unidentifiable objects.\u003c/p>\n\u003cp>That physical response says it all: The artist and curators might insist upon the meaning of every sculpture and painting in \u003ci>Make Me a Summary of the World\u003c/i>, but they can’t anticipate or account for the pleasure of discovering a miniature black rhinoceros nestled in a crown of driftwood; in seeing myself mirrored in the expression of a livid, dissipating goddess; or, in coming to the conclusion that all those fanned out, flushed pink feathers displayed Banerjee’s desire for flight.\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>\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>\u003cem>‘Make Me a Summary of the World’ is on view at the San Jose Museum of Art through Oct. 6. \u003ca href=\"https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864898/sjma-rina-banerjees-make-me-a-summary-of-the-world","authors":["42"],"categories":["arts_70"],"tags":["arts_1118","arts_596","arts_769","arts_1187","arts_1334"],"featImg":"arts_13864906","label":"arts"},"arts_13856270":{"type":"posts","id":"arts_13856270","meta":{"index":"posts_1591205157","site":"arts","id":"13856270","score":null,"sort":[1556636419000]},"guestAuthors":[],"slug":"sjma-screen-acts-women-in-film-and-video","title":"Female Artists Resist Easy Interpretation in SJMA’s ‘Screen Acts’","publishDate":1556636419,"format":"standard","headTitle":"Female Artists Resist Easy Interpretation in SJMA’s ‘Screen Acts’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“For reasons unknown I saw him running,” says a voiceover in Carrie Mae Weems’ 15-minute video \u003ci>People of a Darker Hue\u003c/i>. The piece poetically and specifically commemorates the unarmed black men, women and children shot and killed by police leading up to the video’s 2016 creation, but that precise bit of dialogue could also subtitle Steffani Jemison’s \u003ci>Escaped Lunatic\u003c/i>. In that piece, staged in empty lots and playgrounds around Houston, four members of a local parkour team run across the static shots, their acrobatic movements offering multiple interpretations. Are they fleeing something, chasing something, or simply—joyfully—running?\u003c/p>\n\u003cp>Both videos featured in the San Jose Museum of Art’s \u003ci>\u003ca href=\"https://sjmusart.org/exhibition/screen-acts-women-film-and-video\" rel=\"noopener\" target=\"_blank\">Screen Acts: Women in Film and Video\u003c/a>\u003c/i>, on view through June 30. Curated by Kathryn Wade and Rory Padeken around ideas of cinematic tropes (such as Jemison’s chase sequences), even more compelling is all five artists’ ability to skillfully depict or describe action without offering explanation. (I know this is happening, but I don’t know why.) The results include dreamlike parables, fragmented documentations or, in Weems’ case, a heartfelt, expansive eulogy. \u003c/p>\n\u003cfigure id=\"attachment_13856271\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg\" alt=\"Elena Damiani, video still from 'Intersticio,' 2012.\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13856271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Elena Damiani, video still from ‘Intersticio,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes even two points of view offer no definitive truth. In Jazmín López’s \u003ci>Juego Vivo\u003c/i>, two back-to-back views of the same scene create a harrowing vision of a child’s game made real—and possibly deadly. Sometimes images are at odds with words. Elena Damiani’s \u003ci>Intersticio\u003c/i> muses on non-specific sites, providing enigmatic narration over a slideshow of found images that have the dispassionate, scientific focus of a geologist’s fieldnotes. \u003c/p>\n\u003cp>And sometimes there’s simply no way to encompass everything informing a particular moment. In the Ethnocine Collective’s \u003ci>For My Art\u003c/i>, five female performance artists in Yangon, Myanmar enact their art in the streets, markets, malls and docks, enlisting ordinary people as their collaborators and audiences. Capturing non-art audiences regarding performances with nervousness, laughter, suspicion and nonchalance, \u003ci>For My Art\u003c/i> emphasizes the bravery and vulnerability inherent in taking art out of white-wall settings, while gathering some of the sights, sounds and imagined smells of the life that inspire these artists.\u003c/p>\n\u003cp>Again and again, despite the visual evidence on display, the artists of \u003ci>Screen Acts\u003c/i> prove the impossibility of a single source of truth—which itself is a refreshing reminder of art’s ambiguous and challenging nature, all in just under one hour of looping play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"With works by Carrie Mae Weems and Steffani Jemison, the looping video program challenges audiences to hold multiple truths simultaneously.","status":"publish","parent":0,"modified":1705026260,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":438},"headData":{"title":"Female Artists Resist Easy Interpretation in SJMA’s ‘Screen Acts’ | KQED","description":"With works by Carrie Mae Weems and Steffani Jemison, the looping video program challenges audiences to hold multiple truths simultaneously.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13856270/sjma-screen-acts-women-in-film-and-video","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“For reasons unknown I saw him running,” says a voiceover in Carrie Mae Weems’ 15-minute video \u003ci>People of a Darker Hue\u003c/i>. The piece poetically and specifically commemorates the unarmed black men, women and children shot and killed by police leading up to the video’s 2016 creation, but that precise bit of dialogue could also subtitle Steffani Jemison’s \u003ci>Escaped Lunatic\u003c/i>. In that piece, staged in empty lots and playgrounds around Houston, four members of a local parkour team run across the static shots, their acrobatic movements offering multiple interpretations. Are they fleeing something, chasing something, or simply—joyfully—running?\u003c/p>\n\u003cp>Both videos featured in the San Jose Museum of Art’s \u003ci>\u003ca href=\"https://sjmusart.org/exhibition/screen-acts-women-film-and-video\" rel=\"noopener\" target=\"_blank\">Screen Acts: Women in Film and Video\u003c/a>\u003c/i>, on view through June 30. Curated by Kathryn Wade and Rory Padeken around ideas of cinematic tropes (such as Jemison’s chase sequences), even more compelling is all five artists’ ability to skillfully depict or describe action without offering explanation. (I know this is happening, but I don’t know why.) The results include dreamlike parables, fragmented documentations or, in Weems’ case, a heartfelt, expansive eulogy. \u003c/p>\n\u003cfigure id=\"attachment_13856271\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg\" alt=\"Elena Damiani, video still from 'Intersticio,' 2012.\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13856271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Elena Damiani, video still from ‘Intersticio,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes even two points of view offer no definitive truth. In Jazmín López’s \u003ci>Juego Vivo\u003c/i>, two back-to-back views of the same scene create a harrowing vision of a child’s game made real—and possibly deadly. Sometimes images are at odds with words. Elena Damiani’s \u003ci>Intersticio\u003c/i> muses on non-specific sites, providing enigmatic narration over a slideshow of found images that have the dispassionate, scientific focus of a geologist’s fieldnotes. \u003c/p>\n\u003cp>And sometimes there’s simply no way to encompass everything informing a particular moment. In the Ethnocine Collective’s \u003ci>For My Art\u003c/i>, five female performance artists in Yangon, Myanmar enact their art in the streets, markets, malls and docks, enlisting ordinary people as their collaborators and audiences. Capturing non-art audiences regarding performances with nervousness, laughter, suspicion and nonchalance, \u003ci>For My Art\u003c/i> emphasizes the bravery and vulnerability inherent in taking art out of white-wall settings, while gathering some of the sights, sounds and imagined smells of the life that inspire these artists.\u003c/p>\n\u003cp>Again and again, despite the visual evidence on display, the artists of \u003ci>Screen Acts\u003c/i> prove the impossibility of a single source of truth—which itself is a refreshing reminder of art’s ambiguous and challenging nature, all in just under one hour of looping play.\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/13856270/sjma-screen-acts-women-in-film-and-video","authors":["61"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_1118","arts_1084","arts_1187","arts_1334"],"featImg":"arts_13856272","label":"arts_140"},"arts_13853118":{"type":"posts","id":"arts_13853118","meta":{"index":"posts_1591205157","site":"arts","id":"13853118","score":null,"sort":[1552935628000]},"guestAuthors":[],"slug":"now-playing-southeast-asian-film-asserts-itself-in-san-jose-and-beyond","title":"Now Playing! Southeast Asian Film Asserts Itself in San Jose and Beyond","publishDate":1552935628,"format":"standard","headTitle":"Now Playing! Southeast Asian Film Asserts Itself in San Jose and Beyond | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The median age in Vietnam is 30.9 years. The great majority of the population was born after the war, and has its eye fixed firmly on the future, yet the past is difficult to evade. With vivid immediacy and palpable empathy, Dinh Q. Lê explores various paths and responses in the aftermath of war through the video and photography installations on view in his solo exhibition \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" rel=\"noopener\" target=\"_blank\">\u003ci>True Journey is Return\u003c/i>\u003c/a>, at the San Jose Museum of Art through April 14.\u003c/p>\n\u003cp>[aside postID='arts_13841461,arts_13850950' label='Related Coverage']\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" 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/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"\"Stories from the Farther Shore,\" playing March 20–24 around the Bay Area, showcases recent documentary, art and feature-length films by Southeast Asian filmmakers.","status":"publish","parent":0,"modified":1705026469,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":340},"headData":{"title":"Now Playing! Southeast Asian Film Asserts Itself in San Jose and Beyond | KQED","description":""Stories from the Farther Shore," playing March 20–24 around the Bay Area, showcases recent documentary, art and feature-length films by Southeast Asian filmmakers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13853118/now-playing-southeast-asian-film-asserts-itself-in-san-jose-and-beyond","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The median age in Vietnam is 30.9 years. The great majority of the population was born after the war, and has its eye fixed firmly on the future, yet the past is difficult to evade. With vivid immediacy and palpable empathy, Dinh Q. Lê explores various paths and responses in the aftermath of war through the video and photography installations on view in his solo exhibition \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" rel=\"noopener\" target=\"_blank\">\u003ci>True Journey is Return\u003c/i>\u003c/a>, at the San Jose Museum of Art through April 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13841461,arts_13850950","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" 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/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\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/13853118/now-playing-southeast-asian-film-asserts-itself-in-san-jose-and-beyond","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_5850","arts_1118","arts_1006","arts_596","arts_1187"],"featImg":"arts_13853178","label":"arts_140"},"arts_13852622":{"type":"posts","id":"arts_13852622","meta":{"index":"posts_1591205157","site":"arts","id":"13852622","score":null,"sort":[1552140052000]},"guestAuthors":[],"slug":"jay-defeo-san-jose-museum-of-art-undersoul","title":"There Was So Much More to Jay DeFeo Than ‘The Rose’","publishDate":1552140052,"format":"audio","headTitle":"There Was So Much More to Jay DeFeo Than ‘The Rose’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A small but focused show of Bay Area legend Jay DeFeo's little-seen photographic work reminds she was more than a one-hit wonder.","status":"publish","parent":0,"modified":1705026502,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":779},"headData":{"title":"There Was So Much More to Jay DeFeo Than ‘The Rose’ | KQED","description":"A small but focused show of Bay Area legend Jay DeFeo's little-seen photographic work reminds she was more than a one-hit wonder.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sourceUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/03/JayDeFeo.mp3","sticky":false,"audioTrackLength":116,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13852622/jay-defeo-san-jose-museum-of-art-undersoul","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/03/JayDeFeo.mp3","audioDuration":116000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\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>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852622/jay-defeo-san-jose-museum-of-art-undersoul","authors":["61"],"programs":["arts_140"],"categories":["arts_235","arts_70"],"tags":["arts_1118","arts_596","arts_2636","arts_822","arts_769","arts_1187"],"featImg":"arts_13852639","label":"arts_140"},"arts_13848625":{"type":"posts","id":"arts_13848625","meta":{"index":"posts_1591205157","site":"arts","id":"13848625","score":null,"sort":[1547306415000]},"guestAuthors":[],"slug":"suffragette-city-delivers-a-feminist-call-to-arms-in-downtown-san-jose","title":"'Suffragette City' Delivers A Feminist Call to Arms in Downtown San Jose","publishDate":1547306415,"format":"audio","headTitle":"‘Suffragette City’ Delivers A Feminist Call to Arms in Downtown San Jose | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oRyYoliFVuA]\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The walking art exhibit Suffragette City takes to downtown San Jose Saturday. It's the brainchild of artist Lara Schnitger, who has traveled the world with this project.","status":"publish","parent":0,"modified":1705026756,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":701},"headData":{"title":"'Suffragette City' Delivers A Feminist Call to Arms in Downtown San Jose | KQED","description":"The walking art exhibit Suffragette City takes to downtown San Jose Saturday. It's the brainchild of artist Lara Schnitger, who has traveled the world with this project.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2019/01/MyrowSuffragette.mp3","sticky":false,"audioTrackLength":93,"path":"/arts/13848625/suffragette-city-delivers-a-feminist-call-to-arms-in-downtown-san-jose","audioDuration":93000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\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>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>\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/oRyYoliFVuA'\n title='//www.youtube.com/embed/oRyYoliFVuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848625/suffragette-city-delivers-a-feminist-call-to-arms-in-downtown-san-jose","authors":["251"],"categories":["arts_235","arts_1003","arts_70"],"tags":["arts_1118","arts_1962","arts_596","arts_4642","arts_1084","arts_1187","arts_3001","arts_5165","arts_5618"],"featImg":"arts_13848628","label":"arts"},"arts_13832055":{"type":"posts","id":"arts_13832055","meta":{"index":"posts_1591205157","site":"arts","id":"13832055","score":null,"sort":[1526497224000]},"guestAuthors":[],"slug":"timely-house-imaginary-reflects-on-memories-and-meanings-of-home","title":"Timely ‘House Imaginary’ Reflects on Memories and Meanings of Home","publishDate":1526497224,"format":"standard","headTitle":"Timely ‘House Imaginary’ Reflects on Memories and Meanings of Home | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“Home.” “House.”\u003c/p>\n\u003cp>The terms are often used interchangeably, but a profound psychological divide separates the two. In an impressive multi-disciplinary installation, the artists featured in the San Jose Museum of Art’s exhibition \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">\u003ci>The House Imaginary\u003c/i>\u003c/a> take up the heady emotional meaning of how and where we live.\u003c/p>\n\u003cp>In the aftermath of World War II, German philosopher Theodor W. Adorno wrote in \u003cem>Moralia Minima\u003c/em> that the physical and psychological concept of home was forever altered: “Dwelling, in the proper sense, is now impossible.” Global catastrophe delivered death and displacement to millions. More than seven decades later, death and displacement due to war and economic privation still plague the world’s population, pitting aggressive nationalistic pride against our best impulses to care for one and all.\u003c/p>\n\u003cp>\u003cem>The House Imaginary\u003c/em> does not directly address the current moment, but instead approaches topics including immigration, forced migration, and the effects of income inequality as they register in the Bay Area — from a more suggestive perspective.\u003c/p>\n\u003cfigure id=\"attachment_13832100\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg\" alt=\"Mildred Howard, 'Abode: Sanctuary for the Familia(r),' 1994.\" width=\"2048\" height=\"1530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1200x897.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1920x1435.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-960x717.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-520x389.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Abode: Sanctuary for the Familia(r),’ 1994. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the first of three second-floor galleries that host the installation, Carman Lomas Garza’s 1997 color lithograph \u003cem>Sandia\u003c/em> portrays a relatable, beautifully mundane scene: a multigenerational Latino family gathers on the front porch at dusk to eat watermelon. It is a scene that plays out all over the United States as spring gives way to summer, and warm evenings are tempered by the cool sweetness of the juicy melon. An accomplished image, and representative of Garza’s commitment to portraying Mexican-American life, \u003cem>Sandia\u003c/em> is all the more poignant for the humane message it conveys: the family unit — however that is defined — is central to our understanding of home. That concept is realized by who we live with, as much as by where we live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two decades after Garza made \u003cem>Sandia\u003c/em>, the Trump administration seeks to limit immigration under any terms, \u003ca href=\"https://www.independent.co.uk/news/world/americas/us-border-mexico-agency-texas-wall-trump-ice-migration-america-a8315781.html\">separating minor children\u003c/a> from their parents as they are apprehended at the U.S.-Mexico border. It’s a controversial policy designed to deter other migrants from seeking asylum in the United States. And it’s a brutal tactic, one that robs us of our humanity, and robs those subjected to it of the familial normalcy Garza portrays.\u003c/p>\n\u003cfigure id=\"attachment_13832097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg\" alt=\"Zarina Hashmi, Detail of 'Homes I Made/A House in Nine Lines,' 1997.\" width=\"800\" height=\"875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-375x410.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-520x569.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zarina Hashmi, Detail of ‘Homes I Made/A House in Nine Lines,’ 1997. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Memory, with its seductive potency and frustrating imperfection, is the exhibition’s strongest through-line. Through memory, we may access the physical parameters of the places we’ve lived and those who lived with us, but the recollection may be fraught, if not painful.\u003c/p>\n\u003cp>Indian-American multimedia artist Zarina Hashmi — known professionally as Zarina — reduces memories of home to minimalist compositions. \u003cem>Homes I Made / A Life in Nine Lines\u003c/em> is a series of ten etchings on paper, all of which recall different houses she inhabited.\u003c/p>\n\u003cp>Some compositions include details like schematic staircases, while others resemble a child’s rudimentary account of a peaked roof atop four walls. The series blends the exacting and unemotional clarity of the artist’s college math studies with the memories of itinerant life interpreted years after it was experienced. They suggest that what she recalls are houses, simply the physical space one occupies, and not the emotional centers that we know as \u003cem>homes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13832099\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg\" alt=\"Roger Shimomura, 'Memories of Childhood,' 1999.\" width=\"2048\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-520x365.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Roger Shimomura, ‘Memories of Childhood,’ 1999. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roger Shimomura’s \u003cem>Memories of Childhood\u003c/em> portrays celebration under exceptionally difficult circumstances. Confined with his family to two Japanese internment camps during World War II, Shimomura’s lithograph recalls his imprisonment and the rare joy of birthday cake. His composition restricts the scene to the foreground plane. With no depth to moderate our perception, it is as if we experience the artist’s memory as he did: immediate and unfiltered, a celebration confined by barbed wire. It is an experiential dissonance most of us will never know.\u003c/p>\n\u003cp>In \u003cem>The House Imaginary\u003c/em>, SJMA curator Lauren Schell Dickens has assembled a quiet but still powerful exhibition that marshals divergent accounts of house and home. Though Dickens and the SJMA staff may not have foreseen the deeply fractured social and political context in which the exhibition debuted as planning proceeded, the installation overall is an opportunity to be still, and contemplate how memory shapes our perceptions of safety, security, and identity as they are informed by our physical surroundings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The House Imaginary’ is on view at the San Jose Museum of Art through Aug. 19, 2018. For more information, \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At the San Jose Museum of Art, artists mine the alternately happy, fraught and painful associations that come with home and family.","status":"publish","parent":0,"modified":1705027848,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":782},"headData":{"title":"Timely ‘House Imaginary’ Reflects on Memories and Meanings of Home | KQED","description":"At the San Jose Museum of Art, artists mine the alternately happy, fraught and painful associations that come with home and family.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13832055/timely-house-imaginary-reflects-on-memories-and-meanings-of-home","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Home.” “House.”\u003c/p>\n\u003cp>The terms are often used interchangeably, but a profound psychological divide separates the two. In an impressive multi-disciplinary installation, the artists featured in the San Jose Museum of Art’s exhibition \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">\u003ci>The House Imaginary\u003c/i>\u003c/a> take up the heady emotional meaning of how and where we live.\u003c/p>\n\u003cp>In the aftermath of World War II, German philosopher Theodor W. Adorno wrote in \u003cem>Moralia Minima\u003c/em> that the physical and psychological concept of home was forever altered: “Dwelling, in the proper sense, is now impossible.” Global catastrophe delivered death and displacement to millions. More than seven decades later, death and displacement due to war and economic privation still plague the world’s population, pitting aggressive nationalistic pride against our best impulses to care for one and all.\u003c/p>\n\u003cp>\u003cem>The House Imaginary\u003c/em> does not directly address the current moment, but instead approaches topics including immigration, forced migration, and the effects of income inequality as they register in the Bay Area — from a more suggestive perspective.\u003c/p>\n\u003cfigure id=\"attachment_13832100\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg\" alt=\"Mildred Howard, 'Abode: Sanctuary for the Familia(r),' 1994.\" width=\"2048\" height=\"1530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1200x897.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1920x1435.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-960x717.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Abode-Sanctuary-for-the-Familiar-520x389.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Abode: Sanctuary for the Familia(r),’ 1994. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the first of three second-floor galleries that host the installation, Carman Lomas Garza’s 1997 color lithograph \u003cem>Sandia\u003c/em> portrays a relatable, beautifully mundane scene: a multigenerational Latino family gathers on the front porch at dusk to eat watermelon. It is a scene that plays out all over the United States as spring gives way to summer, and warm evenings are tempered by the cool sweetness of the juicy melon. An accomplished image, and representative of Garza’s commitment to portraying Mexican-American life, \u003cem>Sandia\u003c/em> is all the more poignant for the humane message it conveys: the family unit — however that is defined — is central to our understanding of home. That concept is realized by who we live with, as much as by where we live.\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>Two decades after Garza made \u003cem>Sandia\u003c/em>, the Trump administration seeks to limit immigration under any terms, \u003ca href=\"https://www.independent.co.uk/news/world/americas/us-border-mexico-agency-texas-wall-trump-ice-migration-america-a8315781.html\">separating minor children\u003c/a> from their parents as they are apprehended at the U.S.-Mexico border. It’s a controversial policy designed to deter other migrants from seeking asylum in the United States. And it’s a brutal tactic, one that robs us of our humanity, and robs those subjected to it of the familial normalcy Garza portrays.\u003c/p>\n\u003cfigure id=\"attachment_13832097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg\" alt=\"Zarina Hashmi, Detail of 'Homes I Made/A House in Nine Lines,' 1997.\" width=\"800\" height=\"875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-768x840.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-375x410.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Homes-I-Made-A-House-in-Nine-Lines-2-520x569.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zarina Hashmi, Detail of ‘Homes I Made/A House in Nine Lines,’ 1997. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Memory, with its seductive potency and frustrating imperfection, is the exhibition’s strongest through-line. Through memory, we may access the physical parameters of the places we’ve lived and those who lived with us, but the recollection may be fraught, if not painful.\u003c/p>\n\u003cp>Indian-American multimedia artist Zarina Hashmi — known professionally as Zarina — reduces memories of home to minimalist compositions. \u003cem>Homes I Made / A Life in Nine Lines\u003c/em> is a series of ten etchings on paper, all of which recall different houses she inhabited.\u003c/p>\n\u003cp>Some compositions include details like schematic staircases, while others resemble a child’s rudimentary account of a peaked roof atop four walls. The series blends the exacting and unemotional clarity of the artist’s college math studies with the memories of itinerant life interpreted years after it was experienced. They suggest that what she recalls are houses, simply the physical space one occupies, and not the emotional centers that we know as \u003cem>homes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13832099\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg\" alt=\"Roger Shimomura, 'Memories of Childhood,' 1999.\" width=\"2048\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/40477879214_e2e51f2747_o-520x365.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Roger Shimomura, ‘Memories of Childhood,’ 1999. \u003ccite>(Courtesy of SJMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roger Shimomura’s \u003cem>Memories of Childhood\u003c/em> portrays celebration under exceptionally difficult circumstances. Confined with his family to two Japanese internment camps during World War II, Shimomura’s lithograph recalls his imprisonment and the rare joy of birthday cake. His composition restricts the scene to the foreground plane. With no depth to moderate our perception, it is as if we experience the artist’s memory as he did: immediate and unfiltered, a celebration confined by barbed wire. It is an experiential dissonance most of us will never know.\u003c/p>\n\u003cp>In \u003cem>The House Imaginary\u003c/em>, SJMA curator Lauren Schell Dickens has assembled a quiet but still powerful exhibition that marshals divergent accounts of house and home. Though Dickens and the SJMA staff may not have foreseen the deeply fractured social and political context in which the exhibition debuted as planning proceeded, the installation overall is an opportunity to be still, and contemplate how memory shapes our perceptions of safety, security, and identity as they are informed by our physical surroundings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The House Imaginary’ is on view at the San Jose Museum of Art through Aug. 19, 2018. For more information, \u003ca href=\"https://sjmusart.org/exhibition/house-imaginary\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13832055/timely-house-imaginary-reflects-on-memories-and-meanings-of-home","authors":["77"],"categories":["arts_70"],"tags":["arts_1118","arts_596","arts_769","arts_1187"],"featImg":"arts_13832372","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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