ART hound

Geneva Anderson digs into art

CAAMFest—Asian American film, food, music and comradery kicks off Thursday, March 12, and runs for 11 days in San Francisco, Berkeley and Oakland

Nikiko, Korio, Marci and David “Mas” Masumoto have an 80 acre farm in Del Ray, south of Fresno, where they grow several varieties of prized heirloom peaches and nectarines.  They are the subject of the CAAM-produced documentary “Changing Season: On the Masumoto Family Farm,” which lyrically recounts the daughter Nikiko’s decision to take over the reins of the family’s peach business from her father, Mas, the celebrated peach farmer and author.  In their lifelong search for the perfect peach, the Masumotos till much more than the soil; they embrace the soul of farming which is an intimate act of bravely nurturing which life throws at you.  The Masumotos are being honored at CAAMFest 2015 with a CAAMFeast Award and a special evening at the Oakland Museum of California where the film will have its world premiere.  Image: CAAMFest

Nikiko, Korio, Marci and David “Mas” Masumoto have an 80 acre farm in Del Ray, south of Fresno, where they grow several varieties of prized heirloom peaches and nectarines. They are the subject of the CAAM-produced documentary “Changing Season: On the Masumoto Family Farm,” which lyrically recounts the daughter Nikiko’s decision to take over the reins of the family’s peach business from her father, Mas, the celebrated peach farmer and author. In their lifelong search for the perfect peach, the Masumotos till much more than the soil; they embrace the soul of farming which is an intimate act of bravely nurturing what life throws at you. The Masumotos are being honored at CAAMFest 2015 with a CAAMFeast Award and a special evening at the Oakland Museum of California where the film will have its world premiere. Image: CAAMFest

The Center for Asian American Media’s CAAMfest turns 33 this year and continues its morph from a pure film festival into a series of festive happenings that fuse cutting edge independent film with music and food—all with an Asian American twist.  CAAMFest takes place over the next 11 days in venues all around the Bay Area including the Asian Art Museum and the Oakland Museum of California, which add their enticing exhibits to the mix.  Formerly the San Francisco Asian American Film Festival (SFIAAFF), CAAMFest 2015 offers more than 100 movies and videos focused on the discovery of new talents, voices and visions. It’s by far the largest festival of Asian American movies in North America. Under the leadership of Masashi Niwano, now in his fifth year as festival & exhibitions director, the event has become one of the country’s major platforms for conveying the richness and diversity of the Asian American multicultural experience.  ARThound loves this festival because it’s so excellently curated, delivering rich and unusual stories from around the globe that stay with you for years.

This year, you’ll see Asian American broadly defined too.  Iranian director Rakshan Banietemad’s new film, Tales, which picked up the award for Best Screenplay at Venice, caught the CAAMFest programmers’ eyes, not just because it’s a great film but because the director, working under dior conditions in Iran, creatively stitched together a series of shorts, stories from her previous films, to create a full length film.  In so doing, she managed to navigate the bureaucracy of the Iranian cultural ministry which requires a license for a feature but not for shorts.  Bravo!   There are also stories involving the Asian diaspora.   Juan Martín Hsu’s La Salada is set in Argentina’s bustling discount market, La Salada, just outside of Buenos Aires, and involves an ensemble cast of Korean, Taiwanese, and Bolivian immigrants whose experiences all converge at the market.  It’s thus no surprise that “travel” is this year’s theme.  Opportunities for armchair travel abound and over 200 guests will be flying in CAAMFest.

BIG NIGHTS:

Opening Night:  The festival kicks off at the historic Castro Theatre on Thursday evening (March 12), with Benson Lee’s Seoul Searching (2015), his new feature film which garnered quite a buzz when it premiered at Sundance in January.  A tribute to the 1980’s teen movies of John Hughes, but infused with a Korean sensibility and Lee’s own experiences, this dramedy is set in a state run summer camp in Korea that brings together Korean teens from all over the globe for the purpose of teaching them about their culture. Lee uses the teen’s stories, and their unexpected twists, to explore the Korean diaspora. Lee’s Planet B-Boy, about break-dancers in an international competition, won best documentary and the audience award at CAAMfest in 2008. Lee and several cast members will attend.

Opening Gala:  After the screening, there’s an opening night gala at the Asian Art Museum, with a 1980’s dance party with cocktails and fine food amidst the Seduction exhibit of Edo-period Japan. The exhibition has over 60 works of art and features Japanese artist Hishikawa Moronobu’s (1618-1694) spectacular 58 foot long painted silk handscroll, A Visit to the Yoshiwara, which is shown completely unfurled for the first time. The masterpiece, on loan from the John C. Weber, depicts daily life in the entertainment district in the 17th century.

Kalki Koechlin plays Laila in Shonali Bose’s second feature film, “Margarita with a Straw” (2014), CAAMFest’s Centerpiece film, the first Indian film that introduces a character with cerebral palsy.  Image: CAAMFest

Kalki Koechlin plays Laila in Shonali Bose’s second feature film, “Margarita with a Straw” (2014), CAAMFest’s Centerpiece film, the first Indian film that introduces a character with cerebral palsy. Image: CAAMFest

CAAMfest’s Centerpiece movie:  Shonali Bose’s Margarita with a Straw (2014) screens at Castro on Sunday, March 15th and represents the powerful storytelling and moments of palpable intimacy that CAAMFest is famous for.  Kalki Koechlin plays Laila, a young woman from Delhi who is determined not to let her cerebral palsy interfere with her life —she writes lyrics for a rock band, flirts wildly with her classmates and dreams of going to New York to participate in NYU’s prestigious creative writing program to which she’s been admitted. Set in Delhi and New York, the film is a brave and glorious homage to that old adage—“follow your heart.”

Closing Night:  The festival’s closes with Bruce Seidel’s Lucky Chow, a six-part PBS series which will be showcased over the course of two days—Saturday and Sunday, March 21 and 22—at Oakland’s New Parkway Theater.  The series features Danielle Chang (LUCKYRICE culinary festival founder) as she travel across America, taking in the Asian food landscape.  Accompanying the film will be an Asian-inspired curated menu from the New Parkway kitchen.  Other food-related films are Grace Lee’s Off the Menu: Asian America and Edmond Wong’s Supper Club exploring Bay Area restaurants.

As part of a Spotlight on San Francisco documentary filmmaker Arthur Dong, CAAMFest presents the world premiere of his documentary “The Killing Fields of Dr. Haing S. Ngor” chronicling the period of the Khmer Rouge’s tyrannical stronghold over Cambodia.  The story is told through the eyes of the late Dr. Haing S. Ngor, arguably the most recognizable survivor of the Cambodian genocide.  Ngor fled to the U.S. and became a worldwide ambassador for justice, recreating his experience in the film “The Killing Fields” (1984), for which he won an Academy Award in 1984, only to be murdered in a Los Angeles Chinatown alley in 1996.  Using animation and rare archival material, anchored by Ngor's richly layered autobiography, this remarkable story brings you face to face with a man who embodied the harsh duality of danger and opportunity.   Image: CAAMFest

As part of a Spotlight on San Francisco documentary filmmaker Arthur Dong, CAAMFest presents the world premiere of his documentary “The Killing Fields of Dr. Haing S. Ngor” chronicling the period of the Khmer Rouge’s tyrannical stronghold over Cambodia. The story is told through the eyes of the late Dr. Haing S. Ngor, arguably the most recognizable survivor of the Cambodian genocide. Ngor fled to the U.S. and became a worldwide ambassador for justice, recreating his experience in the film “The Killing Fields” (1984), for which he won an Academy Award in 1984, only to be murdered in a Los Angeles Chinatown alley in 1996. Using animation and rare archival material, anchored by Ngor’s richly layered autobiography, this remarkable story brings you face to face with a man who embodied the harsh duality of danger and opportunity. Image: CAAMFest

Honoring the 40th anniversary of Cambodia’s fall to the Khmer Rouge: Lest we not forget the tragic moments that also define cultures, CAAMfest is presenting a collection of powerful stories of survival and resiliency from Cambodia’s tragic Khmer Rouge period. As part of the Spotlight feature on acclaimed filmmaker Arthur Dong, his new documentary, The Killing Fields of Dr. Haing S. Ngor, chronicles the years encapsulating the Khmer Rouge’s tyranny through the eyes of Dr. Haing S. Ngor, who escaped to America and recreated his experience in the film The Killing Fields, for which he won an Academy Award in 1984.  Dong will be in conversation with film critic and author B. Ruby Rich on Friday, March 20 at New People Cinema.

Perfectly Peachy:  The festival is also honoring the Masumoto Family, fourth generation peach California peach farmers, with a CAAMFeast Award and a special evening of storytelling at the OMCA (Oakland Museum of California) on Friday, March 20, where the CAAM-produced documentary, Changing Season: On the Masumoto Family Farm, will have its world premiere. The entire family— Mas, Marcy, Nikiko and Korio Masumoto—will be in attendance. The Masumotos, who have an 80 acre farm south of Fresno, are famous for their highly-prized heirloom Sun Crest peaches and tenacious adherence to sustainable practices as well as their lyrical writing on farming and food.  When was the last time you visited the Oakland Museum?  CAAMFest provides a perfect opportunity to combine film with art.   Fertile Ground: Art and Community in California (ends April 12) is an exciting collaboration between SFMOMA and OMCA that explores California artists, many of them Bay Area artists. Marion Gray: Within the Light (ends June 21) is a riveting exploration of San Francisco-based photographer Marion Gray’s work over the past 40 years documenting Bay Area artists and art happenings. Bees: Tiny Insects, Big Impact (ends September 20) will educate and entertain the entire family.

In Albert Shin’s second feature “In Her Place,” (2014), Yoon Da-Kyung stars as a wealthy Seoul woman who is desperate to have a child.  She arrives at an isolated farm where a struggling widow (Hae-yeon Kil) is hoping to capitalize on her teen daughter’s pregnancy.  The woman moves in with the family to wait for the birth, telling her friends at home that she’s decided to have her baby in the U.S.  Ahn Ji Hye’s raw performance as the conflicted teen anchors this heart wrenching drama of secret pregnancy.  Toronto based director stumbled upon the story while eavesdropping in a café in South Korea.  In Korea, adopted children are still stigmatized and the act of adoption is a shameful one.  Screens twice at CAAMFest 2015.  Image: CAAMFest

In Albert Shin’s second feature “In Her Place,” (2014), Yoon Da-Kyung stars as a wealthy Seoul woman who is desperate to have a child. She arrives at an isolated farm where a struggling widow (Hae-yeon Kil) is hoping to capitalize on her teen daughter’s pregnancy. The woman moves in with the family to wait for the birth, telling her friends at home that she’s decided to have her baby in the U.S. Ahn Ji Hye’s raw performance as the conflicted teen anchors this heart wrenching drama of secret pregnancy. Toronto based director stumbled upon the story while eavesdropping in a café in South Korea. In Korea, adopted children are still stigmatized and the act of adoption is a shameful one. Screens twice at CAAMFest 2015. Image: CAAMFest

Music:  In addition to the movies, Korean musicians have a strong presence at CAAMFest with performances from Awkwafina (Chinese Korean American rapper Nora Lum from Queens) and Suboi, the Vietnamese “Queen of Hip Hop” and a host of other party rockers who will keep things lively before and after the movies.

Stay tuned to ARThound for an interview with the Masumotos about all things peachy.

CAAMFEST Details:

When/Where: CAAMfest 2015 runs March 12-22, 2014 at 8 screening venues in San Francisco, Berkeley, and Oakland and as well as select museums, bars and music halls.

Tickets: This popular festival sells outs, so advance ticket purchase is highly recommended for most films and events.  Regular screenings are $14 with $1 to $2 discounts for students, seniors, disabled and current CAAM members.  Special screenings, programs and social events are more.  Festival 6-pack passes are also available for $75 (6 screenings for price of 5). All access passes are $450 for CAAM members and $500 for general.  Click here for ticket purchases online.  Tickets may also be purchased in person and various venue box offices open one hour before the first festival screening of the day.  Rush Tickets:  If a screening or event has sold all of its available tickets, there is still a chance to get in by waiting in the Rush line. The Rush line will form outside of the venue around 45 minutes before the screening is set to begin.  Cash only and one rush ticket per person and there are no guarantees.

Unpacking the festival: Click here to see full schedule in day by day calendar format with hyperlinks for film and event descriptions and for ticket purchase.  The official website— CAAMFest 2015

 

 

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March 11, 2015 Posted by | Asian Art Museum, Film, Food, Gardening, Oakland Museum of California | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

“Gorgeous”—gritty, edgy, beyond beautiful—SFMOMA and Asian Art Museum’s exhibition asks you to figure out what “gorgeous” means, just three viewing weekends left

In “Gorgeous” at the Asian Art Museum through September 14, 2014, Mark Rothko’s “No. 14, 1960,” one of SFMOMA’s most visited artworks, shares a small gallery with an exquisite 17th century Chinese bronze Buddha, whose robes seem blown by a soft breeze, and a 17th century Tibetan Buddhist mandala, all of which encourage very slow looking—the full extent of their gorgeousness is experienced through reflection over time.  “Gorgeous” presents mostly Western modern and contemporary works from SFMOMA in conversation with artworks from AAM that span 2,000 years and many different cultures, opening up whole new ways of experiencing all of these works very much in the present moment.  Photo: Geneva Anderson

In “Gorgeous” at the Asian Art Museum through September 14, 2014, Mark Rothko’s “No. 14, 1960,” one of SFMOMA’s most visited artworks, shares a small gallery with an exquisite 17th century Chinese bronze Buddha, whose robes seem blown by a soft breeze, and a 17th century Tibetan Buddhist mandala, all of which encourage very slow looking—the full extent of their gorgeousness is experienced through reflection over time. “Gorgeous” presents mostly Western modern and contemporary works from SFMOMA in conversation with artworks from AAM that span 2,000 years and many different cultures, opening up whole new ways of experiencing all of these works very much in the present moment. Photo: Geneva Anderson

An evocative Mark Rothko painting shares a gallery with a richly-colored 17th century Tibetan mandala and an immovably calm bronze Buddha; a voluptuous 16 to 17th century  stone torso is placed next to a hot pink neon sign that reads “Fantastic to feel beautiful again”; an ornately embossed and gilded 19th century elephant seat, a symbol of status, is near Marcel’s Duchamp’s iconic factory made urinal; John Currin’s confounding portrait of a meticulously-painted nude that combines the physique of a Northern Renaissance master with the grinning head of a corn-fed mid-Western girl shares space with a number of other portraits that provoke discomfort.  They’re all part of Gorgeous, the inventive collaboration between SFMOMA and the Asian Art Museum (AAM), a mash-up of 72 artworks (39 from SFMOMA and 43 from the Asian), spanning 2,000 years, that asks the viewer to decide what ‘gorgeous” means.  Artwise, it’s one of the summer’s highpoints that grows on you with each successive visit. There are just three viewing weekends left as it closes on Sunday, September 14, 2014.

“ ‘Gorgeous’ just clicked right away, hitting all the marks in terms of an exhibition that really had the potential to offer something fresh and provocative and to approach a mash-up of two very different collections,” said Janet Bishop, SFMOMA’s curator of painting and sculpture.  Bishop oversees SFMOMA’s “On the Go Program,” in place at various sites all around the Bay Area while the building is closed for reconstruction and expansion through early 2016. (The excellent “Photography in Mexico” exhibition hosted by the Sonoma County Museum  in September 2013 and about to open at the Bakersfield Museum of Art was one of SFMOMA’s first of the On the Go shows.  The next On the Go project is Fertile Ground: Art and Community in California (Sept. 20, 2014 – April 12, 2015) in partnership with OMCA (Oakland Museum of California).  In the works since the fall 2011, Gorgeous is co-curated by Allison Harding, AAM assistant curator of contemporary art, Forrest McGill, AAM Wattis senior curator of South and Southeast Asian art and director of AAM’s Research Institute for Asian Art, Caitlin Haskell, SFMOMA assistant curator of painting and sculpture and Janet Bishop.

“A lot of our shows fall into art history where we attempt to clarify things for the viewer” said the AAM’s Allison Harding, one of the lead curators. “This is more art appreciation, where we want the viewer to enjoy themselves as they try to figure out what they think about this subject.  It’s meant to be very fluid and engaging.”   And fluid it is—the show extends over four galleries and into the expansive North Court.  The artworks aren’t easily categorized but embracing their resistance to classification is the essence of the project.

It almost seems as if Harding and McGill free-associated about their perspectives on gorgeous to come up with the categories they’ve grouped the artworks into—Seduction , Dress Up, Pose, Reiteration,  Beyond Imperfection, Fantasy, Danger,  In Bounds, Evocation, On Reflection.  Interesting wall texts elucidate their personal perspectives and possible juxtapositions amongst the artworks.

Having visited the show five times now, I see most of the associations as interchangeable—the more time you spend looking, and the more you understand what drives your own attraction and revulsion with various works, the more you get to the heart of your own personal gorgeous.

Gorgeous often seduces through the allure of the extreme.  Jeff Koons’ “Michael Jackson and Bubbles” (1988), rendered in gold glazed porcelain 1988, is a mainstay of SFMOMA’s collection.  In addition to being on view in “Gorgeous,” another edition of the sculpture is currently on view at the Whitney’s Jeff Koons’ retrospective.  SFMOMA curator Janet Bishop notes that the iconic piece captures “a very real moment in the pop star’s obsessive personal pursuit of gorgeousness.”   Collection SFMOMA, ©Jeff Koons.

Gorgeous often seduces through the allure of the extreme. Jeff Koons’ “Michael Jackson and Bubbles” (1988), rendered in gold glazed porcelain 1988, is a mainstay of SFMOMA’s collection. In addition to being on view in “Gorgeous,” another edition of the sculpture is currently on view at the Whitney’s Jeff Koons’ retrospective. SFMOMA curator Janet Bishop notes that the iconic piece captures “a very real moment in the pop star’s obsessive personal pursuit of gorgeousness.” Collection SFMOMA, ©Jeff Koons.

Certainly central to the exhibition’s immense popularity is that its combination of Asian and Western, ancient and modern, and seeing familiar works in a new context is a fabulous catalyst for spinning out ideas on something as sassy as gorgeous.

In the opening Oscher gallery, a real icon of SFMOMA holdings—Jeff Koons’ “Michael Jackson and Bubbles” (1988)—is right across from a set of twelve 17th century hanging scrolls by Chinese artist Hua Yan who was famous for his strong personality and rejection of  orthodox conventions of painting.  The expressively painted screens depict a villa ensconced in a sweeping panoramic mountainous landscape on a luxurious golden background.   Near-by is a jewel-encrusted alms bowl from Burma (1850-1950) and also close by is Chris Olfili’s “Princess of the Possee” (1990) and Jess’ monumental drawing “Narkissos” (1976-1991).  I was revolted by the gaudy excess of Bubbles when I first saw it at SFMOMA’s reveal press opening years ago.  Now, 16 years after its creation, I marvel at how it perfectly captures banality of the 1980’s and how its lustrous gold porcelain finish has a magical interplay with Hua Yan’s shimmering scrolls and sweeping hills and with the gilding on the ceremonial alms bowl, a highly-ornate ritual object.

One can’t speak of gold without mentioning Felix Gonzalez-Torres “Untitled” (Golden) (1995), a deeply alluring shimmering gold-beaded curtain—the only interactive work in the show—that seems to produce a smile on the face of everyone who walks through it.  Conceptually, it functions as a portal and is installed as a passage between two thematically different galleries; it even grabs the limelight from a nearby Mondrian.

(Left) Torso of a female deity, 1400–1600. Southern India. Stone.  Courtesy of Asian Art Museum, The Avery Brundage Collection, B63S3+.  (Right) “Fantastic to Feel Beautiful Again,” 1997, by Tracey Emin. Neon. Collection SFMOMA, © 2014 Tracey Emin.

(Left) Torso of a female deity, 1400–1600. Southern India. Stone. Courtesy of Asian Art Museum, The Avery Brundage Collection, B63S3+. (Right) “Fantastic to Feel Beautiful Again,” 1997, by Tracey Emin. Neon. Collection SFMOMA, © 2014 Tracey Emin.

An Indian stone female torso covered with intricate carving, dated 1400-1600, which has been on view at the AAM for over a decade, was easy to skip over.  Freshly installed in Asian’s North Court, with a different pedestal that exposes what remains of its legs and beside British artist Tracy Emin’s hot pink neon hand-written sign “Fantastic to feel beautiful again” (1997), the stone work is suddenly re-contextualized.  Ermin’s confessional epigram highlights what is absent in the stone work—presumably she was once a complete figure but the centuries have robbed this lush beauty of her of her head, arms, legs—in short, the ability to think or move. “Recovering our awareness of her losses only broadens her allure,” says Allison Harding. “Her acquired cracks and fractures suggest the collision between idea beauty and the world of time and nature.”

“Lawrence Weiner’s ‘Pearls roll Across the Floor’ in the Lee Gallery is a text piece that was installed a number of times in the SFMOMA’s Botta building but is presented here in the Lee Gallery in a new diagonal configuration and a new palette which, for me, really changes its dynamic and the mental images that it evokes,” said SFMOMA’s Janet Bishop who happily admitted “this experience has really changed the way I see objects.”

I imagine like many, I came to Gorgeous with the notion that concepts of gorgeous and beauty were somewhat synonymous.  And, as an art writer who’s been at it 25+ years, I was expecting more of a conversation about beauty and where it stands today, a topic that engaged the art world and philosophical discourse in the 1990’s when there was an active rejection of beauty as a creative ideal.  As Allison Harding explained, “Gorgeous is meant to be distinct from art historical discourse and precise definitions; it’s more about viewers defining for themselves what gorgeous means. …The works in this show are more than beautiful and they all have aspects about them that push beyond conventional beauty to the max, to the zone where tensions exist beyond what is familiar or comfortable.”

Is posing your five-year-old child so as to capture innate sexuality crossing a border, or, is this silver gelatin portrait “gorgeous” because it so sensuously captures an honest slice of childhood?  Sally Mann’s “Jessie at 5” (1987) brushes up against social boundaries that are fluidly defined but perfectly illustrate the tensions in the SFMOMA-Asian Art Museum exhibit, “Gorgeous.” @Sally Mann. Courtesy: Gagosian Gallery.

Is posing your five-year-old child so as to capture innate sexuality crossing a border?, or, Is this silver gelatin portrait “gorgeous” because it so sensuously captures an honest slice of childhood? Sally Mann’s “Jessie at 5” (1987) brushes up against social boundaries that are fluidly defined but perfectly illustrate the tensions in the SFMOMA-Asian Art Museum exhibit, “Gorgeous.” @Sally Mann. Courtesy: Gagosian Gallery.

Sally Mann’s “Jessie at 5” (1987), hung in the Hambrecht Galley, is a silver gelatin portrait of the artist’s 5 year-old daughter, nude from the waist up and posed sexily with her hip jutting out. It strikes a number of disconcerting chords.  “The power of this image lies in ability to confound boundaries,” says  Harding. “The confining square here could be the acceptable borders of childhood, femininity, sexuality; the improvisation is the captured moment and its endless interpretation.”  The modern portrait shares wall space with a set of hanging scrolls from the Asian’s collection from another era, Chobunsai Eishi’s  “Three Types of Beauties in Edo,” approximately dates 1798-1829.  In one screen, a geisha ( erotically?) twists her hair pin with her delicate white hands, her forearm revealed when her sleeve is raised.  In Eishi’s time, too, there was a fascination with ranking types of beauties by the coding is fuzzy to our modern eye.

One of the great things about Gorgeous is the feeling that you’re actually meeting the curators, as their wall texts, written in conversational language, are much more personal and engaging than usual.   Of a red-lacquered wood chair for the imperial court which is carved with amazing narrative scenes, Forrest McGill writes “Looks uncomfortable and impractical, but who cares when displaying wealth and power is the goal, right?” and “contains narrative scenes that someone with a thorough knowledge of Chinese literature might have been able to identify.  But who would have had a change to get close enough to them for long enough to figure them out?”

(Left) “Miss Blanche chair” by Shiro Kuramata (1988), plastic, artificial flowers, aluminum. Collection SFMOMA. @Estate of Shiro Kuramata.  (Right) Chair for the imperial court, approx.. 1750-1850.  China. Lacquered wood.  The Avery Brundage Collection, B60M28+.

(Left) “Miss Blanche chair” by Shiro Kuramata (1988), plastic, artificial flowers, aluminum. Collection SFMOMA. @Estate of Shiro Kuramata. (Right) Chair for the imperial court, approx.. 1750-1850. China. Lacquered wood. The Avery Brundage Collection, B60M28+.

This regal lacquered chair is comically paired, in the Oscher Gallery, with Shiro Kuramata’s “Miss Blanche chair” (1988), a see-through modernist acrylic chair that has wonderful floating roses and is said to have been inspired by the corsage worn by Vivien Leigh in the role of Blanche Dubois in the movie version of A Streetcar Named Desire.  These two chairs, neither made for sitting, loudly shout-out to the ornate gilded Indian elephant seat (howdah) in the Asian’s North Court which, in turn, dialogues nicely with Marcel Duchamp’s “Fountain” (1917), a touchstone of conceptual art, which has been installed adjacent it.   It’s quite unexpected to find a factory made urinal in the AAM’s elegant North Court, perhaps as surprising as it was when the original urinal was first designated as art in the 1917 SIA (Society of Independent Artists) exhibition.

DetailsGorgeous closes on September 14, 2014.  The Asian Art Museum is located at 200 Larkin Street at Civic Center Plaza in San Francisco.  Hours: Tuesday-Sunday 10 a.m. to 5 p.m. and Thursday 10 a.m. to 9 p.m.  Admission: Gorgeous is covered by general admission AAM ticket—free for SFMOMA members; $15 adults; $10 seniors over 65, students and youth 13-17; Thursday nights $5; free admission for all on Target Sunday, September 7, 2014 .  For more information, visit http://www.asianart.org/.

August 29, 2014 Posted by | Art, Asian Art Museum, Oakland Museum of California, SFMOMA, Sonoma County Museum | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

rockin’ artifacts— The OMCA (Oakland Museum of California) is grooving with “Vinyl,” its homage to pressed gems, ending on July 27

“Pearl,” the second solo album by Janis Joplin, is just one of dozens of lp’s that can be seen, touched and played at “Vinyl,” the Oakland Museum of California’s homage to listening to, collecting, and sharing records.  “Pearl” was released posthumously on Columbia Records in January 1971 and was the last album that had Joplin’s direct participation.  Its recording sessions ended with Joplin’s death on October 7, 1970.  Soon after its release, it hit  #1 on the Billboard 200 and held the spot for nine weeks and was certified “quadruple platinum” by the Recording Industry Association of America. “Pearl” is the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit.  The album cover, photographed by Barry Feinstein in Los Angeles shows Joplin reclining on her Victorian era loveseat with a drink in her hand.  Photo: Geneva Anderson

“Pearl,” the second solo album by Janis Joplin, is just one of dozens of lp’s that can be seen, touched and played at “Vinyl,” the Oakland Museum of California’s homage to listening to, collecting, and sharing records. “Pearl” was released posthumously on Columbia Records in January 1971 and was the last album that had Joplin’s direct participation. Its recording sessions ended with Joplin’s death on October 7, 1970. Soon after its release, it hit #1 on the Billboard 200 and held the spot for nine weeks and was certified “quadruple platinum” by the Recording Industry Association of America. “Pearl” is the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit. Photo: Geneva Anderson

If you haven’t visited OMCA (Oakland Museum of California) lately, July is a great month to do it.  Vinyl: The Sound and Culture of Records closes Sunday, July 27th, and is a fascinating interactive show with a gallery of guest-curated crates of lp’s set up in listening stations that will delight, inform as they take you way down memory lane.

I was eleven when Janis Joplin’s “Pearl” was released, so seeing feather-haired Janis on the album cover sitting there on that velvet love seat, drink in hand, immediately brought back that 5th grade summer that we played  “Me and Bobby McGee” over and over trying to understand as children what it all meant —”Freedom is just another word for nothing left to lose.”

I reunited with “Pearl” by cruising through rock historian Sylvie Simmons’ curated “girl crate” featuring female rebels, like the Shirelles in the 1960’s (“Will You Still Love Me Tomorrow”) through the singer-songwriters of the 1970’s to Punk divas of the late 1970’s and early 1980’s.  Yeh, ARThound isn’t only an opera lover…as a toddler, I cut my teeth on Peter, Paul and Mary and “Puff, the Magic Dragon” and proudly scrawled my initials all over both my and my brother’s albums and would sing it, at the top of my lungs, to whoever would listen.  Vinyl is the kind of the show that brings all of that to the surface, so do  bring a friend along to share it all with.

OMCA Senior Curator of Art René de Guzman has done a superb job of pulling together some very rare lp’s too.  I grew up loving “Star Trek” but had no idea that Leonard Nimoy had actually cut several lp’s and that he sang (and pretty decently) on some of them.  Guzman is particularly proud that he was able to find some rare Nimoy lp’s in Europe and bring to Oakland for the show.

OMCA Senior Curator of Art René de Guzman holds a rare copy of Nimoy’s hit lp “Two Sides of Leonard Nimoy,” (Dot Records, 1967)  that features tracks —“Highly Illogical,” “Spock Thoughts,” “Follow Your Star,” “Once I Smiled.”   Listening to Ninoy talk/sing is a thoroughly eyebrow raising listening experience, courtesy of “Vinyl” at OMCA through July 27, 2014.  Photo: Geneva Anderson

OMCA Senior Curator of Art René de Guzman holds a rare copy of Nimoy’s hit lp “Two Sides of Leonard Nimoy,” (Dot Records, 1967) requested by best-selling Pulitzer author, Michael Chabon, for his “Discography of a Nerd” lp crate. The album features tracks —“Highly Illogical,” “Spock Thoughts,” “Follow Your Star,” “Once I Smiled.” Listening to Nimoy talk/sing is a thoroughly eyebrow raising listening experience, courtesy of “Vinyl” at OMCA through July 27, 2014. Photo: Geneva Anderson

Final “Talk and Play”:  On Saturday, July 26th,  from 1-2:30 p.m., OMCA will host the last installment of its weekly “Talk and Play” sessions which have accompanied its 3 month long tribute to vinyl.   The series, which is different every week, features guest participants from DJs to music journalists, record collectors to experimental musicians.  The focus is always vinyl—from pressing it, to its history, it remarkable resurgence and its collectability—and  listening to specially-curated music sets.

The final session, “Every Record Has a Story,” features David Katznelson (record producer, president, Birdman Recording Group), Steven Baker (former president, Warner Brothers Records), Britt Govea (founder, Folk Yeah Productions) and Josh Rosenthal (founder, owner, and president, Tompkins Square Records).   You can be sure this group of talent will share some mind-blowing stories from their own collections as well as divulge some of the biggest secrets behind some of the greatest albums of our time.

Click here to listen to David Katznelson’s (record producer, president, Birdman Recording Group) curated playlist on Spotify.

Also ending soon (July 27) is SuperAwesome: Art and Giant Robot, OMCA’s smart nod to arts visionary Eric Nakamura, whom in 1994, founded Giant Robot, Los Angeles’ Little Osaka based store, magazine, art gallery that became an uber-destination for Asian and Asian American popular culture and art.   Nakamura and OMCA associate curator Carin Adams have thoughtfully curated this joyful blast of multimedia art from 15 contemporary artists who were early and contributors to this edgy scene.

Mural Magic!  So-Cal husband and wife duo, “kozyndan,” love oceans, nature, bursts of bright color and working together.  "An Ode To California" is 17 feet tall and 36 feet wide, and covers the floor of the space where it is has been lovingly installed.  The mural is part of OMCA’s “SuperAwesome: Art and Giant Robot” which explores recent works by California and international artists affiliated with “Giant Robot,” the influential magazine that brought Asian, trans-Pacific culture to the masses.  Artworks in the exhibition represent a range of mediums, including mural art, sculpture, illustration, portraiture, large-scale installations, graphic novels, photography, and more.  Photo: Geneva Anderson

Mural Magic! So-Cal husband and wife duo, “kozyndan,” love oceans, nature, bursts of bright color and working together. “An Ode To California” is 17 feet tall and 36 feet wide, and also covers the floor of the nook where it is has been lovingly installed. The mural is part of OMCA’s “SuperAwesome: Art and Giant Robot” which explores recent works by California and international artists affiliated with “Giant Robot,” the influential magazine that brought Asian, trans-Pacific culture to the masses. Artworks in the exhibition represent a range of mediums, including mural art, sculpture, illustration, portraiture, large-scale installations, graphic novels, photography, and more. Photo: Geneva Anderson

Details:  OMCA, the Oakland Museum of California, is located at 1000 Oak Street, Oakland.  Detailed directions are available on OMCA’s Directions page.   Hours: Wednesday-Sunday, 11 a.m. to 5 p.m., except Fridays when the museum is open until 9 p.m. Admission:  $12 general, $9 seniors and students with valid ID.  Parking: Enter the Museum Garage on Oak Street between 10th and 12th streets.  Parking is just $1/hour with Museum validation.  Parking without validation is $2.50/hour.  After 5 p.m., there is a flat $5 fee. (Bring your ticket to the Ticketing booth on Level 2 for validation.)

 

 

July 22, 2014 Posted by | Oakland Museum of California | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Not just film, CAAMFest, has super-sized into an Asian American cultural extravaganza—it starts Wednesday, March 13, and runs for 10 days in San Francisco, Berkeley, and Oakland

New York artist Tenzing Rigdol’s poignant installation is the focus of Tenzi Tsetan Choklay’s feature documentary, “Bringing Tibet Home,” screening at CAAMFest 2014, March 13-23, 2014.   Following the death of his father, a Tibetan refugee, Rigdol embarks on a journey to bring 20,000 kilos of native Tibetan soil from Nepal to India. The smuggled soil is laid out on a platform in Dharamsala, the Himalayan hill town where the Dali Lama and many Tibetan refugees are based.  For many, this is a reunion; for some, this the first time that they set foot on their native soil; and for a few, this is probably the last time that they ever see anything of their lost nation.  A powerful portrait of artistic determination that explores homeland, exile and the transgressive power of art.  Image: courtesy CAAM

New York artist Tenzing Rigdol’s poignant installation is the focus of Tenzi Tsetan Choklay’s feature documentary, “Bringing Tibet Home,” screening at CAAMFest 2014, March 13-23, 2014. Following the death of his father, a Tibetan refugee, Rigdol embarks on a journey to bring 20,000 kilos of native Tibetan soil from Nepal to India. The smuggled soil is laid out on a platform in Dharamsala, the Himalayan hill town where the Dali Lama and many Tibetan refugees are based. For many, this is a reunion; for some, this the first time that they set foot on their native soil; and for a few, this is probably the last time that they ever see anything of their lost nation. A powerful portrait of artistic determination that explores homeland, exile and the transgressive power of art. Filmmaker will attend. Image: courtesy CAAM

CAAMFest is 32 this year and no longer just about great film.  The 10 day festival, which takes place between March 13th and 23th , in San Francisco, Berkeley and Oakland, has long showcased the best and newest in Asian American film.  It got restless when it turned 30 though:  it changed its name from SFIAFF (San Francisco International Asian American Film Festival ) to the shorter CAAMFest , named after its sponsor, CAAM , San Francisco’s Center for Asian American Media.  Under the guidance of Festival Director Masashi Niwano, now in his fourth year at the helm, it also responded to changing times by tweaking its programming.  And growing.  And growing.  It now bills itself as the nation’s “largest showcase for new Asian and Asian American film.”

Music and Food:  In addition to its 121 films and videos, and stellar presentations and tributes, CAAMFest 2014 includes cutting edge musicians and the fusion of great food and film line-up.  Korean and Vietnamese hip hop and rock music, and leading female performers are the focus of the two “Directions in Sound” evenings. On March 22, 23-year-old rapper, singer and songwriter, Suboi (Hàng Lâm Trang Anh), tagged Vietnam’s Queen of Hiphop, will have her U.S. debut at 111 Minna Gallery.

Suboi, the first female rapper to make it big in Vietnam, makes her U.S. debut at CAAMFest.

Suboi, the first female rapper to make it big in Vietnam, makes her U.S. debut at CAAMFest.

Culinary artists like superstar Chef Martin Yan (of PBS and M.Y. China) and award-winning Chocolatier Windy Lieu of Sôcôla Chocolates are the focus of CAAMfeast,” a high-end tasting party/fundraiser, while three fabulous food films celebrate storytelling around Asian food.

CAAMFEST expands into artsy Oakland:  Promising to engage all the senses is “Super Awesome Launch,” an evening at the Oakland Museum of California (Friday, March 7) that includes a sneak preview of its highly anticipated upcoming spring exhibition, SuperAwesome: Art and Giant Robot, along with the chance to meet arts visionary and Eric Nakamura, who curated the exhibition.   What? Never heard of Nakamura? Then you’re WAY WAY behind the times and need a serious CAAMFEST infusion. Twenty years ago, in 1994, Nakamura founded Giant Robot, Los Angeles’ Little Osaka based store, magazine, art gallery that became an uber-destination for Asian and Asian American popular culture and art.  You can meet Eric Nakamura and experience the art in person at OMCA, which has become quite the hopping venue on Friday nights. The evening also includes high energy bands from Taiwan, a caravan of food trucks, and a screening of Patrick Epino and Stephen Dypiangco’s Awesome Asian Bad Guys (2013) starring Tamlyn Tomita and Dante Basco.  Easy to see why they call it “Super Awesome Launch.”   And, this year CAAMFEST has its closing night party in Oakland as well (see below), marking what promises to be a sweet partnership with the community’s vibrant arts organizations and galleries.

Big Nights of Film

Opening Night: The festival kicks off this Wednesday, March 13 with the US premiere of Vietnamese American director Ham Tran’s (Journey from the Fall, 2006) romantic comedy, How to Fight in Six Inch Heels, at the historic Castro Theater.  The film was Vietnam’s top box office draw for 2013 and features San Jose native Kathy Uyen as a New York fashion designer who infiltrates Saigon’s high-fashion world to test her fiancé’s fidelity. After the premiere, CAAMFest heads over to the Asian Art Museum for its Opening Night Gala, which features food from local chefs and restaurants, a special presentation by fashion stylists Retrofit Republic, dancing to beats spun by local DJ’s and the Asian’s amazing new exhibition, Yoga: The Art of Transformation.

How To Fight In Six Inch Heels (Âm Mưu Giày Gót Nhọn)  

Select Special Presentations:  Each year, CAAMFest highlights the works of significant media makers and their contributions to modern cinema.  In Conversation with Grace Lee: Award-winning documentary filmmaker Grace Lee will be in conversation at the Castro Theatre on Saturday, March 16, discussing her new documentary, American Revolutionary: The Evolution of Grace Lee Boggs (2013), profiling the extraordinary life of activist and feminist Grace Lee Boggs which screens right after the conversation.  Lee’s narrative feature comedy, American Zombie (2006), screens on Friday, March 14.

American Revolutionary:  The Evolution of Grace Lee Boggs

Tribute: Run Run Shaw:  CAAMFest offers a three film tribute to the legendary movie mogul Sir Run Run Shaw, who over the course of nine decades fostered some of the greatest filmmaking talent in Hong Kong, and produced some American classics such as Blade Runner (1982).  The films—The Kingdom and the Beauty; King Boxer (The Five Fingers of Death); and my personal favorite, Come Drink With Me, will all screen at the Chinatown’s Great Star Theater on March 15th..  The Great Star, refurbished in 2010, hosts both Chinese-language film and Chinese opera.

Set in imperial China, Chinese director Li Han-hsiang’s dazzling musical drama “The Kingdom and the Beauty” (1959) consolidated the Chinese operetta’s popularity in Hong Kong.  When  restless Chinese emperor (Chao Lei) disguises himself as a commoner and takes a stroll, he falls in love with a country peasant (movie queen Lin Dai) and promises to marry her after spending one night together—only for their budding romance to be abruptly curtailed. The film is part of a three film tribute at Chinatown’s Great Star Theater to Hong Kong entertainment and media mogul Run Run Shaw.

Set in imperial China, Chinese director Li Han-hsiang’s dazzling musical drama “The Kingdom and the Beauty” (1959) consolidated the Chinese operetta’s popularity in Hong Kong. When restless Chinese emperor (Chao Lei) disguises himself as a commoner and takes a stroll, he falls in love with a country peasant (movie queen Lin Dai) and promises to marry her after spending one night together—only for their budding romance to be abruptly curtailed. The film is part of a three film tribute at Chinatown’s Great Star Theater to Hong Kong entertainment and media mogul Run Run Shaw.

Closing Night: The Closing Night Gala, Sunday, March 23, marks the festival’s expansion to downtown Oakland’s arts district.  The evening starts off at the New Parkway Theater with a screening of Emmy Award-winning filmmaker Marissa Aroy’s documentary, Delano Manongs (2013).  A prescient chronicle of the life of Filipino activist Larry Itliong (1913-77), who organized the 1965 Delano Grape Strike and helped launch the United Farm Workers, the documentary explores the vital contribution of Filipinos to the American Farm labor movement.  Following this screening, the Gala moves one block to Vessel Gallery for a closing party that takes place amongst the art exhibition “Periphery: New Works by Cyrus Tilton and Paintings by Tim Rice.”

CAAMFEST expands into Oakland:

Stay-tuned to ARThound for detailed film picks, which will include:

Anthony Chen’s Ilo Ilo (2013) Winner of the Caméra d”Or at Cannes this May, a mesmerizing portrait of a middle class Indonesian family in crisis that sprang out of the director’s childhood in the Singapore and his nurturing relationship with his Filipina nanny who worked as a domestic helper for his family for 8 years from 1988 to 1997.  (Screens March 15 at 6:30 PM at Pacific Film Archive and March 17 at 6 PM at Sundance Kabuki Cinemas.)

Director Yuya Ishii’s The Great Passage (2013), Japan’s 2013 Oscar nominee for Best Foreign Language Film about a shy, eccentric young man, who joins the Dictionary Editorial Department of a big Tokyo publishing house to help compile a new dictionary, “The Great Passage” and over the course of years is transformed.  (Screens: March 15 at 2:30 PM at Sundance Kabuki Cinemas and March 16 at 3:30 PM at Pacific Film Archive.)

Tenzi Tsetan Choklay’s feature documentary, Bringing Tibet Home (2013). Following the death of his father, a Tibetan refugee, Rigdol embarks on a remarkable journey to bring 20,000 kilos of native Tibetan soil from Nepal to India. The smuggled soil is laid out on a platform in Dharamsala, the Himalayan hill town where the Dali Lama and many Tibetan refugees are based.  For many, this is a reunion; for some, this the first time that they set foot on their native soil; and for a few, this is probably the last time that they ever see anything of their lost nation. (Screens: March 14 at 5 PM at New People Cinemas and March 19 at 7 PM at Pacific Film Archive.)

CAAMFEST Details:

When/Where: CAAMfest 2014 runs March 13-23, 2014 at 8 screening venues in San Francisco, Berkeley, and Oakland and as well as select museums, galleries, bars and music halls.

Tickets: This popular festival sells outs, so advance ticket purchase is highly recommended for most films and events.  Regular screenings are $12 with $1 to $2 discounts for students, seniors, disabled and current CAAM members.  Special screenings, programs and social events are more.  Festival 6-pack passes are also available for $60 (6 screenings for price of 5). All access passes are $450 for CAAM members and $500 for general.  Click here for ticket purchases online.  Tickets may also be purchased in person and various venue box offices open one hour before the first festival screening of the day.

Unpacking the festival: Click here to see full schedule in day by day calendar format with hyperlinks for film and event descriptions and for ticket purchase.  The official website— CAAMFest 2014.

March 9, 2014 Posted by | Dance, Film, Food, Oakland Museum of California | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

closing soon—”Peter Stackpole: Bridging the Bay,” at Oakland Museum on California through January 26, 2014

Peter Stackpole "Catwalk and Marin Tower," 1936, gelatin silver print, 6.25 x 9.375 inches, Collection of OMCA and OMCA Founders Fund.

Peter Stackpole “Catwalk and Marin Tower,” 1936, gelatin silver print, 6.25 x 9.375 inches, Collection of OMCA and OMCA Founders Fund.

Soaring spans, chilling heights, and candid moments in the daily lives of workers characterize the 22 stunning black and white photographs in “Peter Stackpole: Bridging the Bay,” at OMCA (Oakland Museum of California) OMCA through January 26, 2014.  One of the first photographers to have access to a compact 35-millimeter camera, the naturally agile Stackpole, who was raised in the Bay Area and in Paris, befriended bridge workers and, without official permission, was soon climbing ladders right along with them to get incredible shots of the construction of the original San Francisco-Oakland Bay Bridge and of the Golden Gate Bridge.  His amazing photos eventually captured the attention of the team at Time Magazine, who were in the early stages of publishing a photo journal that would become Life Magazine.  Stackpole’s unique work became so well respected that it launched his career and he was featured in celebrated publications like Vanity Fair, and went on to photograph Hollywood events and celebrities.  This is the first time OMCA’s complete collection of Stackpole’s bridge building images from the 1930s have been publicly displayed since they were acquired. The exhibition connects visitors back in time to the bridge’s first iteration, its amazing engineering and serves as a complement to the Museum’s major exhibition on the San Francisco Bay, “Above and Below: Stories From Our Changing Bay,” which runs through February 23, 2014.

Details:Peter Stackpole: Bridging the Bay”  is on display at the Oakland Museum of California through January 26, 2014.

OMCA Curator Drew Johnson on “Peter Stackpole: Photographing the Bay Bridge”

January 5, 2014 Posted by | Oakland Museum of California | , , , , , , | Leave a comment

Finding her story in China’s troubled history—artist Hung Liu’s retrospective, “Summoning Ghosts,” at the Oakland Museum of CA, closes June 30, 2013

Hung Liu's work , "The Heroines," from 2012, addresses patriotic stories in Chinese picture books, or "xiaorenshu," from her childhood.  oil on canvas, 96 x 160 inches, Collection of Hung Liu and Jeff Kelley.

Hung Liu’s “The Heroines” (2012), is part of a new body of work that revisits patriotic stories in Chinese picture books from her childhood. Like little graphic novels, these picture books told stories of heroic figures and deeds, with an eerie propaganda supplanting the charming fable. These new paintings can be understood as homages to all the artists who lost their art during China’s revolutionary epoch. (oil on canvas, 96 x 160 inches, Collection of Hung Liu and Jeff Kelley).

The ghosts of the Cultural Revolution, the tragedy of Tiananmen, the horror of the 2008 Sichuan Province earthquake, her mother’s death, treasured images from childhood comics—all these are revived in artist Hung Lui’s first major retrospective, Summoning Ghosts: The Art of Hung Liu at the Oakland Museum of CA (OMCA) through Sunday, June 30, 2013.  Hung Liu, now 65 and newly retired from 20 years of teaching painting at Mills College, is the most accomplished Chinese-born American artist of her generation.  The exhibition explores her creative output from age five through the present.   Together for the first time are 40 of her large-scale portraits of women, children, the elderly, workers—nameless victims of history.  Surrounded by birds and mythical creatures, floral motifs, symbols of past and present Chinese culture, and things an innocuous as bubbles, these vibrant gestural portraits are teaming with spirit energy and copious spills and drips of paint, evoking the blur of fading memories. Hung Liu rescues the disenfranchised from the oblivion of history, celebrating them without diminishing the suffering that has characterized their lives.

Hung Liu was born in 1948 and came of age in Beijing in the repressive era of Mao’s Cultural Revolution.  Her father, an intellectual, was imprisoned and, at age 20, after finishing high school, she was sent to a labor camp in the countryside for four years of “re-education” where she worked with peasants in the rice and wheat fields.  Instead of crushing her, as it did so many, she used these traumatic experiences to fuel a vital inner flame which she kept burning as she resumed life in Beijing and studied and taught art.  Many years later, she was able to emigrate to the U.S. in 1984, at age 36.  She arrived with two suitcases and $20 and pursued an art education on scholarship at Visual Arts Department of UC San Diego.  Within a year, she had connected with Allan Kaprow and was participating in several of his happenings.   Summoning Ghosts, organized by René de Guzman, OMCA Senior Curator of Art, presents Hung Liu’s compelling life story, told through her artworks, as well as the larger human story of the souls crushed in China’s slow crawl to superpower status. It’s an unflinching and remarkably vital story of humanity.

Painted in the aftermath of 9/11, "September 2001"  depicts a traditionally-rendered Song dynasty duck crashing through the face of a young Chinese bride, each image disintegrating into the other. (2001, oil on canvas, 66 x 66  inches.  collection of Driek and Michael Zirinsky.)

Painted in the aftermath of 9/11, “September 2001” depicts a traditionally-rendered Song dynasty duck crashing through the face of a young Chinese bride, each image disintegrating into the other. (2001, oil on canvas, 66 x 66 inches. collection of Driek and Michael Zirinsky.)

"Mu Nu" (“Mother and Daughter”), 1997, is one of several large-scale paintings that addresses Chinese women at work in stooped labor and domestic chores. (oil on canvas, 80 x 140 inches, Collection of Kemper Museum of Contemporary Art).

“Mu Nu” (“Mother and Daughter”), 1997, is one of several large-scale paintings that addresses Chinese women at work in stooped labor and domestic chores. (oil on canvas, 80 x 140 inches, Collection of Kemper Museum of Contemporary Art).

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Video Clips of Hung Liu in discussion with OMCA’s René de Guzman (all from the March 14, 2013 press conference)

Early Work: 

In 1968, as part of Mao Zedong’s Cultural Revolution, Liu, who had just completed high school, was sent for four years of re-education in the Chinese countryside which entailed manual labor under grueling conditions.  With a borrowed camera, she photographed the peasants with whom she lived and worked in the fields and also drew their portraits.  The film was kept undeveloped for decades until 2010, when she became interested in printing at these images.  She also kept portraits she had made of the local farmers and their families and they are on display.  In the video-clip below, Hung Liu discusses these photos.

Current work:

ARThound’s previous coverage of Hung Liu and “Summoning Ghosts:”  CAAMFest 2013—Jin Dan’s masterpiece “When the Bough Breaks,” examines upward mobility’s downward emotional toll on a Chinese migrant family as days, months, years pass

Special Docent Tours:  each Sunday at 1 p.m., through June 30, 2103, knowledgeable docents will walk visitors through the exhibition, sharing insights about Hung Lui’s processes and artworks.  Meet in front of the Great Hall lobby.   Free with museum admission.

Details:  The Oakland Museum of California is located at 1000 Oak Street, Oakland.  Open Wednesday-Sunday, 11 a.m. to 5 p.m, except Fridays when the museum is open until 9 p.m. Admission is $12 general, $9 seniors and students with valid ID.  Parking: Enter the Museum’s garage entrance on Oak Street between 10th and 12th streets.  Parking is just $1/hour with Museum validation. Parking without validation is $2.50/hour. Bring your ticket to the Ticketing booth on Level 2 for validation.

June 11, 2013 Posted by | Art, Oakland Museum of California | , , , , , , , , , , | Leave a comment

Oakland Museum releases photos of the historic 19th century gold jewelry box stolen on January 9, 2013

This Gold Rush-era quartz and gold jewelry box (7 x 9 x 7 inches, ca 1869-78) was stolen from the Oakland Museum’s permanent collection on January 9, 2013.  It was made by San Francisco goldsmith A. Andrews and is signed.  Photo: courtesy OMCA

This Gold Rush-era quartz and gold jewelry box (7 x 9 x 7 inches, ca 1869-78) was stolen from the Oakland Museum’s permanent collection on January 9, 2013. It was made by San Francisco goldsmith A. Andrews and is signed. Photo: courtesy OMCA

The Oakland Museum of California (OMCA) has just released photos and a detailed description of the Gold Rush-era quartz and gold jewelry box stolen from its permanent collection on January 9, 2013.  The historic jewelry box, was made between 1869 and 1878 by A. Andrews, a San Francisco goldsmith, and is signed.  The artifact features a rectangular moulded top and base that rests on four feet formed of four miniature female figures depicting allegorical California.  It is seven inches in height; nine inches on length; and seven inches in depth. The top pilasters and mouldings are of veined gold quartz in tones of grey and cream with veining of gold.  The interior of the top is recessed and engraved in full relief with scene of the early days of the Union and Central Pacific Railroads, mounted Native Americans, herds of buffalo, and a train of cars.  The gold quartz is cut and set in mosaic fashion in the top of the lid, exterior and the sides are gold veined quartz.  (Read  ARThound’s 1.9.2013 coverage here.)

Reward:  A reward of $12,000 is offered for the safe recovery of the stolen artifact.

Anyone with any information about the burglary is encouraged to immediately contact the Oakland Police Department’s Major Crimes Section at (510) 238-3951 or the TIP line at (510) 777-2805. The reward is subject to certain terms and conditions required by the insurer, including that the reward claimant not have any involvement in the theft or any previous or post-theft complicity.  Questions about the Jewel Casket artifact or the Oakland Museum of California should be directed to 510-318-8460 or info@museumca.org.

 In an open letter to the public appearing on the OMCA website January 9, 2013, OMCA director Lori Fogarty, wrote—“We are appealing to the public for assistance in recovering the artifacts stolen in November and in this latest incident. Beyond their monetary value, these objects convey the story of California and our heritage and are held in the public trust to be cared for into perpetuity for the learning and enjoyment of Museum visitors. We hope that, thought this broad media effort and the attendant reward, we will be successful in gaining assistance in bringing these objects once again to the Museum and our community.”  More information can be found at museumca.org/reward.

January 16, 2013 Posted by | Oakland Museum of California | , , , , | Leave a comment

Looted! Valuable artifact—a Gold Rush-era box—stolen Monday from the Oakland Museum—there’s a $12,000 reward

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A historic box made of California gold and said to be valued at more than $800,000 was stolen from the Oakland Museum of California (OMCA) early Monday morning, the second break-in in two months, the museum reported Tuesday evening.   The museum is always closed to the public on Monday and Tuesday and both thefts occurred on Monday, and is it believed that the same thieves may be responsible for both break-ins.   The OMCA announced this morning it is offering a $12,000 reward for the box’s safe recovery. 

Museum spokeswoman Kelly Koski said the California Gold Rush era quartz and gold box with ornamentation depicting early California was taken from an alarm-fitted plexiglass display cabinet in the museum.  Museum Executive Director Lori Fogarty did not confirm reports that the box was worth up to $800,000, which SF Gate reporter Henry K Lee reported this morning he had been told by Anne Campbell Washington, chief of staff for Oakland Mayor Jean Quan (here).  Fogarty did disclose that the 7 x 9 inch shoebox size box was an anniversary gift from a San Francisco pioneer to his wife from the 1800s and was lined with rare quartz and gold.  It weighs about three pounds. The museum has had it since the 1960’s.

At a press conference this (Wednesday) morning, held by the museum, the Oakland Police Department, and Oakland Mayor Jean Quan, it was announced that OMCA is offering a $12,000 reward for the safe return of the box.  Further details of the theft were also released.  As with the incident in November, this was a strategic theft.  Once again, the museum’s security team and the Oakland Police Department responded quickly, but the thief got away.  The suspect was caught on surveillance video and Oakland police suspect an African-American man 5 foot 9 inches to 6 feet tall with a medium complexion, who was wearing dark clothes and a white mask.  They believe the man broke in through a garden door.  A police team is searching the Oakland estuary, which is close to the museum, in the event the object was dumped near the water.  There is also concern that object could be melted down for its gold.

Police and the museum are not yet releasing a photo of the items or surveillance video because it is part of the investigation.

The box was insured.  The City of Oakland is the owner and carrier of the collection.  The museum upgraded its security system following the November theft and further security enhancements are underway that will be in place in the coming days.

The last burglary occurred about 11:30 p.m. on Monday, November 12, 2012 when gold nuggets and other undisclosed artifacts, some more than 200 years old, were stolen.  Both the box stolen Monday and these objects were part of the same OMCA Gold Rush display. Video surveillance tapes were reviewed but no arrests have been made, nor have the items been recovered from the November theft.  In that robbery, someone broke a door to get inside the museum and then exited the building through a different door.  The alarms went off, the guards followed protocol and called 911 and police arrived within three minutes, said the museum’s executive director Lori Fogarty.  (as reported by Kristin Bender in the Oakland Tribune (here).

In an open letter to the public appearing on the OMCA website this morning Fogarty, wrote—“We are appealing to the public for assistance in recovering the artifacts stolen in November and in this latest incident.  Beyond their monetary value, these objects convey the story of California and our heritage and are held in the public trust to be cared for into perpetuity for the learning and enjoyment of Museum visitors. We hope that, thought this broad media effort and the attendant reward, we will be successful in gaining assistance in bringing these objects once again to the Museum and our community.”

Anyone with any information about the burglary is encouraged to immediately contact the Oakland Police Department’s Major Crimes Section at (510) 238-3951 or the TIP line at (510) 777-2805.   The reward is subject to certain terms and conditions required by the insurer, including that the reward claimant not have any involvement in the theft or any previous or post-theft complicity.

The story is now being covered in the major media.

January 9, 2013 Posted by | Art, Oakland Museum of California | , , , , , , , , , | Leave a comment