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old-fashionedgentlman · 3 years

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2024 POSSIBLE ELECTION CANDIDATES (DEMOCRAT)

Potential Democratic Presidential Candidate, Current Job Graduated/Degree Education Location ####-####: Qualification *Voted in Support Of -Supports RED FLAG <~> -What They Did

Stacey Abrams, 2018 gubernatorial candidate Bachelor's Spelman College, 1995 Graduate University of Texas, Austin, 1998 Law Yale Law School, 1999 -High-Quality Day Care -Universal Pre-K -Excellent Public Schools -Affordable Higher Education -Strengthen Small Businesses -Workplace Equality -Help Poverty Stricken Americans -Affordable Healthcare -Criminal Justice Reform -Protect Environment -LGBTQ+ Ally -Support Veterans -Support Military -Keep Guns Out of Wrong Hands -Support Domestic Violence Survivors -Protect Voting Rights -Affordable Housing

Michael Bennet, U.S. senator from Colorado Bachelor's Wesleyan University Law Yale Law School 2009-Present: U.S. Senator from Colorado 2005-2009: Superintendent, Denver Public Schools 2003-2005: Chief of staff to mayor of Denver 1997-2003: Managing director, Anschutz Investment Co. 1997: Special assistant U.S. attorney, Conn. 1995-1997: Counsel to U.S. deputy attorney general *Block border wall *Renew PATRIOT Act *Convict Trump of abuse of office *Convict Trump of contempt of Congress *End military actions against Iran *Against banning abortion after 20 weeks *Provide federal aid for coronavirus *Renew FISA surveillance law -Pro Immigrant -Agriculture Plans -College Affordability -Job Creation -Pro Education for Minors

Andy Beshear, governor of Kentucky <1> High school Henry Clay High School Bachelor's Vanderbilt University Law University of Virginia School of Law -Strengthening Public Education -Affordable Healthcare -Wage Growth -Pensions -Against Corruption -College Affordability -Criminal Justice Reform -Pro Diversity -Equal Pay -Legalize Betting and Online Casinos -Job Training -Marriage Equality -Medical Marijuana -Reproductive Rights -Anti Opioid Distribution -Voting Rights -Heroin Treatment -Anti Child Abuse -Protect Seniors -Protect Jobs MULTIPLE LAWSUITS MADE AGAINST HIM <~> -Modifications to Education Board Memberships -Boards of Trustees Abolishments -Education Budget Cuts

Cory Booker, U.S. senator from New Jersey 2013-Present: U.S. Senator from New Jersey 2006-2013: Mayor of Newark, New Jersey 1998-2002: Newark City Council 1997: Graduated from Yale Law School with a J.D. 1994: Graduated from Oxford University as a Rhodes Scholar 1992: Graduated from Stanford University with an M.A. 1991: Graduated from Stanford University with a B.A. *Block border wall *Convict Trump of abuse of office *Convict Trump of contempt of Congress *End military action against Iran *Against banning abortion after 20 weeks *Provide federal aid for coronavirus *Renew FISA surveillance law

Pete Buttigieg, former mayor of South Bend Bachelor's Harvard University Graduate Pembroke College, Oxford 2021-Present: U.S. secretary of transportation 2019-2020: Democratic presidential candidate 2012-2020: Mayor of South Bend, Indiana 2009-2017: Lieutenant in the U.S. Navy Reserve 2007-2010: Consultant at McKinsey & Company -Support Black Communities

Andrew Cuomo, governor of New York <2> High school Archbishop Molloy High School, 1975 Bachelor's Fordham University, 1979 Law Albany Law School, 1982 -Civil Rights -Criminal Justice Reform -Gun Safety -Women's Equality -LGBTQ+ Community -Educational Opportunity for All -Expand Healthcare -Protect Environment -Repair/Rebuild Infrastructure -Stronger Middle Class -Against Income Inequality CALL FOR IMPEACHMENT MADE AGAINST HIM <~> -Five women claimed sexual assault <~>

Kamala Harris, U.S. senator from California Bachelor's Howard University, 1986 Law University of California, Hastings College of the Law, 1989 2021-Present: Vice president of the United States 2017-2021: U.S. senator from California 2011-2016: Attorney general of California 2004-2011: District attorney of San Francisco 1990-1998: Deputy district attorney, Alameda County, Calif. *Block border wall *Renew PATRIOT Act *Convict Trump of abuse of office *Convict Trump of contempt of Congress *End military action against Iran *Against banning abortion after 20 weeks *Provide federal aid for coronavirus *Renew FISA surveillance *Criminal justice reform -Civil Rights -Equality for All -Protect Environment -Expand Higher Education

Jay Inslee, governor of Washington High school Ingraham High School, Washington Bachelor's University of Washington Law Willamette University School of Law Other Stanford University 2013-present: Governor of Washington 1999-2012: U.S. House of Representatives, Washington's 1st Congressional District 1997-1998: Regional director, U.S. Department of Health and Human Services 1996: Unsuccessful run for Governor of Washington 1993-1995: U.S. House of Representatives, Washington's 4th Congressional District 1988-1992: Washington House of Representatives 1976-1984: City prosecutor, Selah, Washington -Better Paying Jobs -Expand Middle Class -Improve Education -Improve Transportation -Healthcare Expansion

Joe Kennedy, U.S. representative from Massachusetts Bachelor's Stanford University Law Harvard Law School 2013-Present: U.S. Representative from Massachusetts' 4th Congressional District 2011-2012: Assistant District Attorney, Middlesex County 2004-2006: U.S. Peace Corps *Terminate border wall *Re-impose federal net neutrality rules *Expand restrictions on online campaign ads *Regulate foreign involvement in campaigns *Federal approval before states can change voting practices *Impeach Trump for abuse of power *Impeach Trump for obstruction of justice *Direct Trump to end hostilities against Iran *Against renewing foreign surveillance authorization *Federal aid for coronavirus -Small Business Support -Job Creation -Balance Budget -Renewable Energy -Healthcare Reform -Improve Education -Social Justice -Women's Rights

Amy Klobuchar, U.S. senator from Minnesota Bachelor's Yale University Law University of Chicago Law School 2007-Present: U.S. Senator from Minnesota 1999-2006: Hennepin County Attorney Partner at Dorsey & Whitney and Gray Plant Mooty law firms *Block border wall *Against budget caps on federal spending *Convict Trump of abuse of office *Convict Trump of contempt of Congress *End military actions against Iran *Provide federal aid for coronavirus *Renew FISA surveillance

Michelle Lujan Grisham, governor of New Mexico High school St. Michael's High School Bachelor's University of New Mexico Law University of New Mexico 2019-present: Governor of New Mexico 2013-2019: U.S. Representative from New Mexico's 1st Congressional District 2010-2012: Member of the Bernalillo County board of commissioners 2004-2007: New Mexico secretary of health 2002-2004: New Mexico secretary of aging and long-term services 1991-2002: Director of the New Mexico state agency on aging -Improve Education -Improve Healthcare -Support Veterans -Support Seniors -Legal Medical Cannabis -LGBTQ+ -Improve Economy -Create Jobs -Increase Police -Public Safety -Anti Gun Legislation -Agriculture -Support Indigenous -Clean Energy -Improve Higher Education -Women's Rights -Fiscal Responsibilities -Improve Schools

Gavin Newsom, governor of California Bachelor's Santa Clara University, 1989 *LGBTQ+ *Healthcare access *Legalize marijuana *Background checks on ammunition purchases -Defend Immigrant Communities -Women's Rights -LGBTQ+ -Criminal Justice Reform -Gun Safety -Support Veterans -Support Military -Healthcare Access -Support Mental Health Treatment -Support Communities of Color -Protect Animals and Wildlife -Eliminate Child Poverty -Financial Foundation for College -Expanding Access to Higher Education -Increase Access to Affordable Housing -Universal Healthcare -Improve Education -Support Small Business -Grow Jobs Through Fiscal Responsibility -Economic Growth -Renewable Energy -Build Infrastructure -Improve Education -Improve Access to STEM Education -Attract and Retain Quality Teachers -Affordable Higher Education -Combat Climate Change -Improve Water Supply -Clean Air -Affordable Housing -Enhanced Infrastructure Financing Districts -Workforce Housing -Housing Production -Protect Tenants -Address Homelessness

Alexandria Ocasio-Cortez, U.S. representative from New York Bachelor's Boston University College of Arts & Sciences, 2011 -Support Immigrants -Medicare For All -Housing As a Human Right -Federal Jobs Guarantee -Criminal Justice Reform -End Private Prisons -Immigration Justice -Abolish ICE -Renewable Fuel -Supports Climate Change Reform -Higher Education For All -Women's Rights -LGBTQ+ -Support Seniors

J.B. Pritzker, governor of Illinois Bachelor's Duke University Law Northwestern University -Protect Net Neutrality -Women's Rights -Economic Inclusion -Protect Seniors -Protect Immigrant Families -Protect Environment -Legalize Marijuana -Anti Gun Violence -LGBTQ+ -Raise Wages -Youth Mental Health -Mental Health -Treatment For Opioids Over Incarceration -Economic Stability -Support Veterans -Justice Reform -Expand Stable Housing -Expand Healthcare -Domestic Violence Prevention -Early Childhood Education -Increase Jobs

Gretchen Whitmer, governor of Michigan Bachelor's Michigan State University, 1993 Law Michigan State University, Detroit College of Law, 1998 -Fix Roads -Affordable Healthcare -Cleaner Drinking Water -Hold Government Accountable -Skill Training For Jobs -Improve Education -Decrease Poverty -Repeal Retirement Tax -Women's Rights -Support Veterans -Expand Treatment For Addiction

FEEL FREE TO ADD ON TO THIS POST! I’M ALWAYS LOOKING FOR NEW INFORMATION AND WILL TRY TO KEEP IT UPDATED!

#ELECTION #2024 #Democrat #Democrat Candidate #stacy abrams #michael bennet #andy beshear #cory booker #pete buttigieg #andrew cuomo #kamala harris #jay inslee #joe kennedy #amy klobuchar #michelle lujan grisham #gavin newsom #alexandria ocasio-cortez #j.b. pritzker #gretchen whitmer

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blackkudos · 4 years

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Robert Hooks

Robert Hooks (born Bobby Dean Hooks, April 18, 1937) is an American actor, producer, and activist. He is most recognizable to the public for his more than 100 roles in films, television, and stage. Most famously, Hooks, along with Douglas Turner Ward and Gerald S. Krone, founded The Negro Ensemble Company (NEC). The NEC is credited with the launch of the careers of many major black artists of all disciplines, while creating a body of performance literature over the last thirty years, providing the backbone of African-American theatrical classics. Additionally, Hooks is the sole founder of two significant black theatre companies: the D.C. Black Repertory Company, and New York's Group Theatre Workshop.

Biography

Early life

The youngest of five children, Hooks was born in Foggy Bottom, Washington, D.C. to Mae Bertha (née Ward), a seamstress, and Edward Hooks who had moved from Rocky Mount, North Carolina with their four other children, Bernice, Caroleigh, Charles Edward "Charlie", and James Walter "Jimmy". Named Bobby Dean Hooks at birth, Robert was their first child born "up-north" and the first to be born in a hospital. His father, Edward, died in a work accident on the railroad in 1939.

Hooks attended Stevens Elementary School. In 1945, at the insistence of his sister Bernice who was doing community arts outreach for youngsters at Francis Junior High School, he performed the lead in his first play, The Pirates of Penzance, at the age of nine. From the ages of 6 to 12, Bobby Dean journeyed with his siblings to Lucama, North Carolina to work the tobacco fields for his uncle's sharecropping farm as a way to help earn money for the coming school year in D.C.

In 1954, just as Brown vs. Board of Education was being implemented in the north, he moved to Philadelphia to be with his mother, her second husband, and his half-sister, Safia Abdullah (née Sharon Dickerson). Hooks experienced his first integrated school experience at West Philadelphia High School. Hooks soon joined the drama club and began acting in plays by William Shakespeare and Samuel Beckett. He was graduated in 1956, passing on a scholarship to Temple University in order to pursue a career as a stage actor at the Bessie V. Hicks School of Theatre (alongside Charles Dierkop and Bruce Dern, with whom he second-acted plays doing their pre-Broadway tryouts in Philadelphia) while working at Browning King, a men's tailor shop at Fourteenth and Chestnut streets.

Career

Having trained at the Bessie V. Smith School of Theatre in Philadelphia, and after seeing A Raisin in the Sun in its Philadelphia tryout in February 1959, Hooks moved to New York to pursue acting. In April 1960, as Bobby Dean Hooks, he made his Broadway debut in A Raisin in the Sun replacing Louis Gossett, Jr. who would be doing the film version. He then continued to do its national tour. He then stepped into the Broadway production of A Taste of Honey, replacing Billy Dee Williams; then repeating the same national tour trajectory as he had done for "Raisin..." the previous year. In early 1962 he next appeared as the lead in Jean Genet's The Blacks, replacing James Earl Jones as the male lead, leaving briefly that same year to appear on Broadway again in Tiger, Tiger, Burning Bright before stepping back into the lead role in The Blacks in 1963. He then returned to Broadway, first in Ballad for Bimshire and then in the short-lived 1964 David Merrick revival of The Milk Train Doesn't Stop Here Any More (as a character created by Tennessee Williams for this revival) and starring Tallulah Bankhead and Tab Hunter in his only stage performance. Immediately thereafter, in March 24, 1964 he originated the role of Clay in Amiri Baraka's Dutchman. With this play, on the advice of Roscoe Lee Brown, Hooks became known as, Robert Hooks. He also originated roles on the New York stage in Where's Daddy? for which he won the Theatre World Award and he was nominated for Best Male Lead in a Musical for Hallelujah Baby while he was simultaneously starring in David Susskind's N.Y.P.D.—the first African American lead on a television drama.

In 1968 Hooks was the host of the new public affairs television program, Like It Is.

Hooks was nominated for a Tony for his lead role in the musical, Hallelujah, Baby!, has received both the Pioneer Award and the NAACP Image Award for Lifetime Achievement, and has been inducted into the Black Filmmakers Hall of Fame. He also won an Emmy for his PBS special, Voices of Our People.

Significant roles for which Hooks is known include Reeve Scott in Hurry Sundown (1967), Mr. T. in the blaxploitation film Trouble Man (1972), grandpa Gene Donovan in the comedy Seventeen Again (2000), and Fleet Admiral Morrow in Star Trek III: The Search for Spock (1984). He also appeared on television in an episode of the NBC crime drama series The Eddie Capra Mysteries in 1978 and portrayed Doctor Walcott in the 1980s television series Dynasty.

Activism

Arts and Culture

In 1964, as a result of a speaking engagement at the Chelsea Civil Rights Committee (then connected to the Hudson Guild Settlement House) he founded The Group Theatre Workshop (GTW), a tuition-free environment for disadvantaged urban teens who expressed a desire to explore acting. Among the instructors were Barbara Ann Teer, Frances Foster, Hal DeWindt, Lonne Elder III, and Ronnie Mack. Alumni include Antonio Fargas, Hattie Winston, and Daphne Maxwell Reid.

The Group Theatre Workshop was folded into the tuition-free training arm of the The Negro Ensemble Company (NEC) founded in 1967 with Douglas Turner Ward and Gerald S. Krone with a $1.3 million grant from the Ford Foundation under the auspices of W. McNeil Lowry.

From 1969-1972, Hooks served as an original board member of Black Academy of Arts and Letters (BAAL) (located in New York) alongside C. Eric Lincoln, President; John O. Killens, Alvin F. Poussaint, and Charles White. Chartered by the State of New York, BAAL's mission was to bring together Black artists and scholars from around the world. Additional members included: Julian Adderley, Alvin Ailey, Margaret Walker, James Baldwin, Imamu Baraka, Romare Bearden, Harry Belafonte, Lerone Bennett, Arna Bontemps, Ossie Davis, Ruby Dee Davis, St. Clair Drake, Ernest Dunbar, Katherine Dunham, Lonne Elder III, Duke Ellington, Alex Haley, Ruth Inge Hardison, Vertis Hayes, Chester Himes, Lena Horne, Jacob Lawrence, Elma Lewis, Henry Lewis, Paule Marshall, Donald McKayle, Arthur Mitchell, Frederick O’Neal, Gordon Parks, Sidney Poitier, Benjamin Quarles, Lloyd Richards, Lucille D. Roberts, and Nina Simone.

In response to the violence in his home town of Washington, D.C. in the wake of the Rev. Dr. Martin Luther King, Jr.'s assassination, and aided by a small grant from the Eugene and Agnes E. Meyer Foundation, Hooks took a leave of absence from the Negro Ensemble Company to create The D.C. Black Repertory Company (DCBRC, 1970-1981). As Founder and Executive Director, the DCBRC was intended as a further exploration of the ability of the arts to create healing. The a capella group Sweet Honey in the Rock was created and developed within its workshop process.

The Inner Voices (Lorton Prison arts training program, 1971) proved to be a result of the beneficial effect of the DCBRC in the D.C. area. In response to a direct plea from an inmate, Rhozier "Roach" Brown, who was serving a life sentence in Lorton, Hooks' D.C. Black Repertory Company structured the first prison-based arts program in the United States. While it is the norm now, it was then a revolutionary attempt at rehabilitation through the arts. Eventually The Inner Voices performed more than 500 times in other prisons, including a Christmas special entitled, "Holidays, Hollowdays." Due to Roach's work, President Gerald Ford commuted his sentence on Christmas Day, 1975.

His relocation to the West Coast redirected Hooks' approach to parity in the arts with his involvement with The Bay Area Multicultural Arts Initiative (1988) as a board member and grant facilitator-judge. Funded by monies from a unique coalition made up of the San Francisco Foundation (a community foundation); Grants for the Arts of the San Francisco Hotel Tax Fund, and The National Endowment for the Arts, the function of this organization was the funding of deserving local multicultural arts organizations.

In 1992, Hooks co-founded (with writer Lonne Elder III) Arts in Action. Located in South Central Los Angeles, this was a film and television training center established to guide individuals who aspired to careers in film production. It formulated strategies and training for securing entry-level jobs. Courses included: career development workshops; pre-production and production for film and television; creative problem solving in production management; directing for stage and screen—principles and practices; also the craft of assistant directors, script supervisor, technicians, wardrobe, make-up, etc.

The Negro Ensemble Company of Los Angeles (NEC-LA) (1994-1997) was created because so many New York members and original members had relocated to the west coast. Hooks, as founder and executive director enlisted alumni from his New York Negro Ensemble Company to serve as board members: Denise Nicholas, Denzel Washington, James Earl Jones, Laurence Fishburne, Richard Roundtree, Samuel L. Jackson. NEC-LA's goal was to be a new and innovative multi-ethnic cultural project that strived to achieve the community effectiveness and professional success of its parent organization.

Personal life

Hooks is the father of actor, television and film director Kevin Hooks. He married Lorrie Gay Marlow (actress, author, artist) on June 15, 2008. Previously, he was married to Yvonne Hickman and Rosie Lee Hooks.

Awards

1966 - Theatre World Award (1965–66 ) for "Where's Daddy?" (The Billy Rose Theatre)

1979 - American Black Achievement Award - Ebony Magazine

1982 - Emmy Award for Producing (1982) Voices of Our People: In Celebration of Black Poetry (KCET-TV/PBS)

1966 - Tony Nomination, Lead Role in a Musical for Hallelujah, Baby

1985 - Inducted into The Black Filmmakers Hall of Fame, recipient Oscar Micheaux Award (1985)

1986 - March 2nd declared Robert Hooks Day by the City of Los Angeles, Mayor Tom Bradley

1987 - Excellence in Advertising and Communications to Black Communities from CEBA (Excellence in Advertising and Communications to Black Communities)

2000 - Honorary Doctor of Humane Letters, Honoris Causa honorary degree, Bowie State University

2000 - May 25th declared Robert Hooks Day in Washington, D.C.

2005 - Beverly Hills/Hollywood Chapter NAACP Image Award for Lifetime Achievement

2005 - Beverly Hills/Hollywood Chapter NAACP Trailblazer Award to the Negro Ensemble Company

2005 - Trailblazer Award – City of Los Angeles

2006 - The Black Academy of Arts and Letters (TBAAL), Lifetime Achievement Award (Dallas)

2007 - The Black Theatre Alliance Awards / Lifetime Achievement Award

2015 - Living Legend Award (2015) National Black Theatre Festival

2018 - October 18th proclaimed Robert Hooks Day by Mayor Muriel Bowser, Washington, D.C.

2018 - Hooks is entered into The Congressional Record by the Hon. Eleanor Holmes Norton, September 4, 2018, Vol. 164

2018 - Visionary Founder and Creator Award - D.C. Black Repertory Company on its 47th anniversary

Acting Credits

Film

Sweet Love, Bitter (1967) .... Keel Robinson

Hurry Sundown (1967) .... Reeve Scott

Last of the Mobile Hot Shots (1970) .... Chicken

Carter's Army (1970) .... Lt. Edward Wallace

Trouble Man (1972) .... Mr. T

Aaron Loves Angela (1975) .... Beau

Airport '77 (1977) .... Eddie

Fast-Walking (1982) .... William Galliot

Star Trek III: The Search for Spock (1984) .... Admiral Morrow

Passenger 57 (1992) .... Dwight Henderson

Posse (1993) .... King David

Fled (1996) .... Lt. Clark

#04/18

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regardezmoica · 5 years

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The 63rd BFI London Film Festival programme

As always, the BFI is throwing THE FESTIVAL with some of the most expected films in the line-up. NOT TO MISS :)

OPENING & CLOSING NIGHT GALAS

THE PERSONAL HISTORY OF DAVID COPPERFIELD - OPENING

Directed by Armando Iannucci (The Death of Stalin)

Starring Dev Patel as David Copperfield, Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw, Paul Whitehouse and Gwendoline Christie

European Premiere

THE IRISHMAN - CLOSING

Directed by Martin Scorsese (Silence, The Departed)

Starring Academy Award® winners Robert De Niro, Al Pacino and Joe Pesci

International Premiere

HEADLINE GALAS

KNIVES OUT - American Express Gala

Directed by Rian Johnson

Starring Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Toni Colette, Katherine Langford and Christopher Plummer

European Premiere

THE AERONAUTS - The Mayor of London’s Gala

Directed by Tom Harber (Wild Rose)

Starring Academy Award® winner Eddie Redmayne and Academy Award® nominee Felicity Jones

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A BEAUTIFUL DAY IN THE NEIGHBOURHOOD - BFI Patrons’ Gala

Directed by Marielle Heller ( Can You Ever Forgive Me? )

Starring Academy Award® winner Tom Hanks, Matthew Rhys.

GREED - Headline Gala

Directed by Michael Winterbottom (The Trip, The Wedding Guest)

Starring Steve Coogan as Richard ‘Greedy’ McCreadie, Isla Fisher, Shirley Henderson and David Mitchell

European Premiere

HOPE GAP - Headline Gala

Directed by William Nicholson (screenwriter of Les Miserables, Gladiator, Shadowlands)

Starring Annette Bening and Bill Nighy

JOJO RABBIT - Headline Gala

Directed by Taika Waititi (Boy, Hunt for the wilderpeople, Thor Ragnarok)

Starring Taika Waititi, Scarlett Johansson, Thomasin McKenzie (Leave no trace), Sam Rockwell, Rebel Wilson and Stephen Merchant.

European Premiere

THE KING - American Airlines Gala

Directed by David Michôd (Animal Kingdom, The Rover)

Starring Timothée Chalamet, Joel Edgerton, Lily-Rose Depp, Ben Mendelsohn, Robert Pattinson

UK Premiere

LE MANS’ 66 - Headline Gala

Directed by James Mangold (Logan)

Starring Matt Damon and Christian Bale

UK Premiere

MARRIAGE STORY - The May Fair Hotel Gala

Directed by Noah Baumbach (While We’re Young, Frances Ha)

Starring Adam Driver and Scarlett Johansson

FESTIVAL AND STRAND GALAS

EMA - Festival Gala

Directed by Pablo Larraín (Jackie)

Starring Gael García Bernal, Mariana Di Girolamo

ABOMINABLE - Family Gala

Directed by Jill Culton and Todd Wilderman for Dreamworks

UK Premiere

BACURAU - Thrill Gala

Directed by Kleber Mendonça Filho (Neighbouring Sounds) and Juliano Dornelles

Winner of the Cannes Jury Prize 2019

THE DUDE IN ME - Laugh Gala

Directed by Hyo-jin Kang

JUDY & PUNCH - Dare Gala

Directed by Mirrah Foulkes

Starring Mia Wasikowska

THE LIGHTHOUSE - Cult Gala

Directed by Robert Eggers (the Sutherland Award-winning director of The Witch)

Starring Robert Pattinson and Willem Dafoe

OFFICIAL SECRETS - Debate Gala

Directed by Gavin Hood’s (Eye in the Sky)

Starring Keira Knightley, Matt Smith, Ralph Fiennes, Matthew Goode and Rhys Ifans.

THE PEANUT BUTTER FALCON - Love Gala

In association with Malta Tourism Authority

Directed by Michael Schwartz and Tyler Nilson

UK Premiere

THE TWO POPES - Journey Gala

Directed by Fernando Meirelles (City of God, The Constant Gardener)

Starring Anthony Hopkins and Jonathan Pryce

WESTERN STARS - Create Gala

Co-directed by Thom Zimny and Bruce Springsteen

European Premiere

SPECIAL PRESENTATIONS

Eleven Special Presentations shine the spotlight on new work from major directors.

BAD EDUCATION in association with Empire - Directed by Cory Finley (Thoroughbreds) and starring Hugh Jackman and Allison Janney

BLACKBIRD - Directed by Roger Michell (Enduring Love, Le Week-End, Notting Hill)

BOMBAY ROSE Directed by debut director and screenwriter Gitanjali Rao

THE CAVE - Directed by Oscar-nominated Feras Fayyad’s (Last Men in Aleppo)

FIRST LOVE - Directed by Takashi Mike

GÖSTA - TV series directed by Swedish writer-director Lukas Moodysson

KRABI, 2562. - Experimenta Special Presentation - Directed by two award-winning directors Anocha Suwichakornpong and Ben Rivers

LOVE, LIFE AND LAUGHTER - Archive Special Presentation - starring Betty Balfour

OUR LADIES - Directed by Michael Caton-Jones (The Jackal, Basic Instinct 2)

PORTRAIT OF A LADY ON FIRE - BFI Flare Special Presentation in association with Sight & Sound - Directed by Céline Sciamma and starring Adele Haenel

ROCKS - Directed by Sarah Gavro (Brick Lane, Suffragette) - Starring Bukky Bakray, Kosar Ali and Shaneigha-Monik Greyson

OFFICIAL COMPETITION

FANNY LYE DELIVER’D, Thomas Clay’s intoxicating 17th Century drama with Maxine Peake in the title role

HONEY BOY, Alma Har’el’s artful and soul-baring examination of the lingering effects of emotional abuse, written by Shia LaBeouf, who stars alongside Lucas Hedges

LINGUA FRANCA, a beautifully performed character study of a Filipino transwoman and undocumented immigrant in Brooklyn, from writer/director Isabel Sandoval, who also takes on the lead role

LA LLORONA, Guatemalan director Jayro Bustamante’s taut genre-bending thriller about an elderly general haunted by a spectre of the past during his trial for genocide

MOFFIE, Oliver Hermanus’ haunting examination of the violent persecution of gay men under Apartheid

MONOS, a hallucinogenic, intoxicating thriller by Alejandro Landes about child soldiers high in the mountains of South America

THE OTHER LAMB, Małgorzata Szumowska’s beguiling, genre-tinged English-language debut examining life in an otherworldly cult

THE PERFECT CANDIDATE, Haifaa Al Mansour’s inspiring drama about a young doctor who becomes an electoral candidate to challenge Saudi Arabia’s strict social codes

ROSE PLAYS JULIE, an immersive and gripping drama from directing duo Christine Molloy and Joe Lawlor about a young woman seeking her biological mother

SAINT MAUD, the debut feature from director Rose Glass, in which a mysterious nurse becomes dangerously obsessed with saving the soul of her dying patient.

FIRST FEATURE COMPETITION – SUTHERLAND AWARD

ATLANTICS (Dir. Mati Diop). A hypnotic, genre-shifting portrait of a girl’s awakening.

BABYTEETH (Dir. Shannon Murphy). A feverish Australian drama featuring a superb performance by breakout star Eliza Scanlen as Milla, a seriously ill teenage girl who falls madly in love with a young drug dealer.

CALM WITH HORSES (Dir. Nick Rowland). Cosmo Jarvis gives a visceral performance in Rowland’s gripping feature debut as Douglas, the hired muscle for a crime family in rural Ireland. A

HOUSE OF HUMMINGBIRD (Dir. Bora Kim). Announcing a bright new voice in South Korean cinema, Kim brings both humour and elegance to her autobiographical debut in this absorbing coming-of-age drama about teenager Eunhee and her dysfunctional Seoul family circa 1994.

INSTINCT (Dir. Halina Reijn). Carice van Houten plays respected clinical psychologist Nicoline, who after starting a new job at a penal institution finds herself flirting with danger in her sessions with inmate Idris.

THE LAST BLACK MAN IN SAN FRANCISCO (Dir. Joe Talbot). Jimmie dreams of reclaiming the beautiful late 19th-century home his grandfather built, before hard times and changing demographics forced his family out.

MAKE UP (Dir. Claire Oakley). A riveting psycho-sexual drama in which teenager Ruth travels to a seaside holiday park to stay with her boyfriend Tom, and one day finds evidence he might be cheating on her.

RELATIVITY (Dir. Mariko Minoguchi). It is love at first sight when Nora and Aaron first meet on a rainy day in an underground station, but Aaron’s fate takes a dramatic turn and changes Nora’s life in an instant.

SCALES (Dir. Shahad Ameen). A visually resplendent tale set in a small Gulf fishing village, where the population live in thrall to the otherworldly creatures of the sea.

The BFI London Film Festival will celebrate international cinema from the 2nd to the 13th of October.

An advice, don’t miss it ;)

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sfaioffical · 5 years

Photo

At SFAI, faculty and staff members are artists too! Faculty and staff shows are a great way for students to connect with the wider community of SFAI-affiliated artists across the globe. Here’s a glimpse of what SFAI faculty and staff are up to this month:

SAN FRANCISCO BAY AREA:

Johnna Arnold — Faculty | Photography See Johnna Arnold’s work in her solo exhibition at Sarah Shepard Gallery in Larkspur, CA, entitled From Inside This Earth, on view through June 1.

Clark Buckner — Faculty | Liberal Arts Check out Clark Buckner’s curatorial work at Telematic in If AI Were Cephalopod, featuring 0rphan Drift (Ranu Mukherjee and Maggie Roberts), on view through June 8.

Charles Hobson — Professor Emeritus | Printmaking See Charles Hobson’s work at the Legion of Honor in Small Inventions: The Artist’s Books of Charles Hobson, on view through July 14.

Frances McCormack — Professor Emeritus | Painting See Frances McCormack’s work in the group exhibition Sonoma Modern | Contemporary, on view through June 16 at the Sonoma Valley Museum of Art.

Kal Spelletich — Faculty | Sculpture/Ceramics Book an appointment to see Kal Spelletich’s work in Molecular Vibrations of the Radiant Body, on view through May 31 at the Recology SF Transfer Station.

Taravat Talepasand — Faculty + Interim Painting Department Chair | Painting See Taravat Talepasand’s work in the group exhibition EPOCH, on view through May 31 at Gallery 16.

Lindsey White — Faculty + Photography Department Chair | Photography On view at Casemore Kirkeby through May 26, see Lindsey White’s work in the group exhibition Handless Operative.

Wanxin Zhang — Faculty | Sculpture/Ceramics See Wanxin Zhang’s work at the Museum of Craft and Design in Wanxin Zhang: The Long Journey through July 14.

CHICAGO, IL:

Maria Elena González — Faculty + Sculpture/Ceramics Department Chair | Sculpture/Ceramics/New Genres If you’re in Chicago, see Maria Elena González’s work in the group exhibition About Face: Stonewall, Revolt, and New Queer Art, on view through July 20 at Wrightwood 659.

OTHER FUN STUFF:

Miah Jeffra — Faculty | Liberal Arts Get your copy of Foglifter—a magazine co-founded by Miah Jeffra and nominated for the Outstanding Literary LGBTQ Anthology at the 31st Annual Lambda Literary Awards Ceremony.

Danielle Lawrence — Faculty | Painting + Drawing Congratulations to Danielle Lawrence, who was selected for the 2019 Golden Foundation Artists in Residence Program in New Berlin, NY.

IMAGE CREDITS:

(1) Taravat Talepasand, White Div I, II, III (installation view), 2019; featured in the exhibition EPOCH, Gallery 16, San Francisco.

(2) Lindsey White, Man Plow, 2019, Archival pigment; featured in the exhibition Handless Operative at Casemore Kirkeby, San Francisco.

(3) Danielle Lawrence, Crossdresser (Herstory), 2017, Oil, chalk, paint, and paper clay on canvas. © Danielle Lawrence.

#SFAIfaculty #SFAI Faculty #SFAIcurrent

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demospectator · 2 years

Photo

Northeast corner of Dupont and Clay Streets in San Francisco Chinatown, c. 1880. Photograph by Kilburn Brothers (from the Martin Behrman Negative Collection).

A Storied Corner of Chinatown -- Then and Now

The announcement by the new Chinatown Media and Arts Collaborative (“CMAC”) that it has acquired title to a building located at 800 Grant Avenue recalls the history of one of San Francisco Chinatown’s well-known corners and a key intersection.

CMAC was formed in 2020 by a consortium of a half dozen Chinatown nonprofit organizations to develop, in its own words, “a welcoming, innovative contemporary arts destination in San Francisco Chinatown for residents, regional communities and global visitors that explores ideas and questions that shape and inspire us all.” The CMAC organizers hope to highlight the “creativity of the Chinese American and Asian American diaspora, and its profound impact on all communities both nationally and worldwide, through a wide range of visual and performing arts that educate entertain and are relevant to a twenty-first century audience.”

The photographic record of Chinatown’s northeast corner of Clay Street and Grant Avenue (formerly Dupont St.) represents a storied history of commerce, persistence, and survival across centuries.

Elevated view of the east side of Dupont Street near the northeast corner of Clay Street, c. pre-1872. Photographer unknown (courtesy opensfhistory.org). The Chinese restaurant “Woey Sin Low” (會仙樓) with its large lanterns in the third floor balcony appears in the center of the frame. Some website sources date the photo to circa 1880, but the photo appears to predate alterations to the Woey Sin Low building’s upper facade that extended its balconies across the entire width of the store frontage as seen in the next photo. The 800 Dupont St. building at the corner appears at right.

“Dupont St. S.F. 1872 – East Side N. Clay St.” Photographer unknown (from the Martin Behrman Negative Collection/Courtesy of the Golden Gate NRA, Park Archives). The photograph of a young man in a bowler hat in the foreground, standing on the northwest corner of the intersection of Dupont and Clay Streets, shows the remodeled Woey Sin Low restaurant and its iconic, exterior woodwork on its now-extended third floor balcony. The streetlamp on the northwest corner is identical to the one shown in the preceding photo of this series. Seen partially at right, the corner building on the northeast corner at 800 Dupont remains dilapidated.

“Chinatown St. – Dupont St., S.F., N.E. Cor” c. 1880. Photograph by Kilburn Brothers from the Martin Behrman Negative Collection.

The building at 800 Dupont Street on the northeast corner of Dupont and Clay Street shows a small billboard above the ground floor, advertising the Fook Woh Bazaar (located a block south at 707 Dupont). The lantern-decorated balconies of the Woey Sin Low restaurant can be seen in the left of the frame in the adjacent building at 808 Dupont.

The photographs of the intersection of Dupont and Clay Streets document the northeast corner of the intersection as a busy commercial micro-hub in old Chinatown. The Langley and Bishop business directories show a “Sou Kee” and “Tuck Sing” grocery stores operating from the 800 - 802 Dupont address during the late 1870’s, to be succeeded by Quong Sou (or “Sau”) Kee grocers listed at 800 Dupont in the Langley directories from 1881 to 1883.

In the early 1880’s, no fewer than four businesses would have occupied the spaces between the grocer “Quong Sou Kee” (a.k.a., “Quong Sau Kee”) which operated at 800 Dupont from 1881 to 1883, and the Woey Sin Low restaurant at 808 Dupont. The Langley directory of 1881 shows a “Tuck Sing, groceries” at 802 Dupont; “Lin Man & Co., barbers” at 806 Dupont which had operated there at least since 1875); “Gim Hi Co., jewelers,” at 804 Dupont (also an occupant since 1875); and “I Yick, general merchandise” and “Lin Man, varieties,” both at 806 Dupont.

“Chinese Quarter” c. 1880-1885. Photograph by Carleton Watkins. Based on the appearance of the Fook Woh Bazaar ad placard above the ground floor, the photograph probably depicts the northeast corner of Dupont and Clay Streets. A portion of the Clay Street frontage included a sidewalk seller’s stall, a ubiquitous feature of pre-1906 Chinatown’s street corners. To see a photo montage of Chinatown sidewalk stalls, go here: https://demospectator.tumblr.com/post/671833318381305856/chinese-quarter-c-1880-1885-photograph-by

“B. 58. Chinese Quarter, S.F. Cal.” c. 1885. Photograph by Isaiah West Taber (from the Marilyn Blaisdell Collection). In this view north up Dupont St., a police officer can be seen at right, standing watch near the curb in front of 800 Dupont St. at the northeastern corner of the intersection with Clay Street. The small street signage can be seen just under the street lamp fixture seen at the far left of the frame.

Detail from the Official Map of Chinatown commissioned by the San Francisco Board of Supervisors and issued in July 1885. The corner building at 800-804 Dupont Street at the northeast corner of the intersection with Clay Street appears at lower left. (From the Cooper Chow Collection of the Chinese Historical Society of America)

“View in Chinatown” c. 1890. Photograph by T.E. Hecht (private collection courtesy of opensfhistoryorg). As was the custom of other photographers, Hecht took this photo while standing on the northwest corner of the intersection of Dupont and Clay Streets with a view centered on the distinctive façade of the Woey Sin Low restaurant at 808 Dupont, and over which a flag can be seen flying. By 1890, the 800 Dupont building at the northeast corner (and seen at right) had been replaced with a brick structure.

Children crossing Clay Street and its streetcar tracks from the northeastern corner of the intersection with Dupont Street, c. 1890s. Photographer unknown (from the Marilyn Blaisdell collection). The sidewalk sales stand or stall on the Clay Street side is visible in the background. Based on the taller girl’s headdress, the photo may have been taken during the Chinese New Year.

“Chinatown - Dupont Street at Clay Street, April 9, 1900.″ Photograph by D. H. Wulzen from the D. H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library. The balconies of the Woey Sin Low restaurant at 808 Dupont appears to the left of the frame in the above photograph. The signage for the dental office of Dr. Charles S. Lee can be seen at street level and the corner of the building. (To read more about the dentists of old San Francisco Chinatown go here.)

A view north at Dupont and Clay Streets after the 1906 Earthquake and Fire. A police officer walks south on Dupont past a sign advising the temporary location of the Canton Bazaar. The charred and twisted tower of the Hall of Justice on Kearny and Washington Streets can be seen in the right quarter of the frame. Photographer unknown (from the Marilyn Blaisdell Collection).

A view from Clay Street toward what had been the northeast corner of the intersection at Dupont Street after the 1906 Earthquake and Fire. The fallen tower of the Hall of Justice on Kearny and Washington Streets can be seen in the left background of the frame. Photographer unknown (from the Marilyn Blaisdell Collection).

A view looking northeast across the intersection of Clay and Dupont Streets in April 1906. The ruined Hall of Justice can be seen in the center background. Photograph by Charles Bailey (who probably appears in the photo) from a private collection.

Sing Chong Co. store at 800 Grant Avenue, c. 1915. Thomas Chinn, in his book, Bridging the Pacific, wrote about the above photo as follows: “Sing Chong Co., a prominent Chinese general merchandise store and butcher shop at the northeast corner of Grant Avenue and Clay Street, ca. 1915. The man with the cleaver at the butcher block was the owner, Louie Dick Chuen. His store operated for over sixty years at this location. [Photo courtesy of Sally Joe.]

After the earthquake, the “fancy goods” store, Wing On Wo (which had formerly operated at 607 Dupont during the 1890’s), occupied the post-1906 building at 800 Dupont Street (before the street’s renaming to Grant Avenue). When the international directory of Chinese businesses was published in 1913, the “Shing Chong Co.” had started business at 800 Grant Avenue as a general merchandise store.

The Sing Chong (成昌) store at the northeast corner of the intersection of Grant Avenue and Clay Street, c. 1937. Photograph by Orene Ken Cathcart (courtesy of the San Francisco Chronicle).

A view of the northeast corner of Grant Avenue and Clay Street in the 1940’s. Photographer unknown (from the Marilyn Blaisdell Collection). The delivery truck of the Sing Chong Co. (成昌) is parked outside the entrance to 800 Grant Avenue. The now-iconic business sign is in the collection of the Chinese Historical Society of America.

The view north on Grant Avenue toward the intersection of Grant Avenue and Clay Street, c. 1940. Photographer unknown.

By 1940, Chinatown had entered a fourth decade as a tourist theme park of the iconic “Oriental City,” complete with ornamental street lamps lining Grant Avenue. Most Chinese American baby boomers can recall Shing Chong Co. (seen at the right of the photo), which operated at the northeast corner of the intersection for more than a half century. One of Shing Chong’s business signs (seen in right side of the frame), reposes in the collection of the Chinese Historical Society of America.

Members of the press and representatives of a half dozen Chinatown-based community organizations gather at 800 Grant Avenue building on the northeast corner of Grant Avenue and Clay Street on October 7, 2021, to announce the establishment of a new media and arts center. Photograph by Doug Chan.

In the first quarter of the 21st century, a new chapter in the history of the northeast corner of Grant Avenue and Clay Street will be written. A new nonprofit Chinatown Media and Arts Collaborative will create an arts and media hub. The program for the new facility aims ambitiously to help attract visitors back to San Francisco Chinatown and help repair a neighborhood economy that was hit hard during the pandemic. (To read more about the project, go here: https://hoodline.com/2021/07/chinatown-is-getting-a-new-26-5-million-arts-and-media-center/)

Photograph by Doug Chan

Change is once more in the air, as a new generation awaits its turn.

[updated: 2023-7-15]

#800 Dupont St.#800 Grant Avenue #San Francisco Chinatown #CMAC #Sing Chong Co.#Woey Sin Low #Carleton Watkins #T.E. Hecht #Chinatown Media and Arts Collaborative #D.H. Wulzen

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nataliehegert · 3 years

Link

I met Catherine Czacki in a Zoom yoga class. The instructor was our mutual friend Linnea Vedder, an artist based in New York whom I’ve known since we were both high school exchange students in Germany twenty years ago. Participants in the class were scattered around the U.S., from New York to Wisconsin, to California.

“Oh, you two should know each other,” Linnea said to me and Catherine, “I think you live really close to each other.”

I live in Lubbock, Texas, out in the middle of the high plains, far from pretty much everything. Turns out, Catherine lives in Portales, New Mexico, a mere hundred miles away. That day, Linnea sent us both an email with the subject line “connections.” “What a wild coincidence that you both live so close and are so like-minded and interested in similar things!” she wrote.

The isolating effect of the pandemic, with our bodies sheltering in our respective domestic spaces, has conversely allowed us, in some cases, to reach out and intermix with others in virtual spaces while geographically dispersed. If there is one bright spot from the pandemic, for me, it is that I have been able to seek connections with old friends in far-flung places, and participate in or watch events such as artist’s talks and readings that I would not have been able to attend otherwise, in any capacity. These social spaces, performed virtually, intimate yet removed, are one way I have been able to push against the motivation-sucking crisis-mode-reaction of my everyday life and try to regain a sense of being here, being present, and still listening.

As Catherine and I talked in a virtual “studio visit,” the sun set and our respective rooms darkened, with only the glow from our laptops illuminating our faces. We traced the orbits of our mutual friends, between San Francisco, New York, San Diego, and now the Southwest and Llano Estacado region. We would have met eventually, that much is certain, but our meeting would not have had the same emotional tenor.

Czacki moved to Portales in 2019 to teach art history and ceramics studio classes at Eastern New Mexico University. She lives with a large and lovable, mischievous dog named Big Buddy. She makes objects, sculptures, paintings, talismans, and wall hangings from a variety of different materials—clay, fabric, beads, found objects—and writes poetry and sews clothes and plays music and works in her garden. These multifarious practices find their ways in and around her oeuvre.

While the pandemic and the lockdowns hit many of us hard, coping with limitations and finding workarounds is a practice Czacki has honed over many years. “There have been so many times that I was going and going, and then suddenly everything fell apart and I just had to stop everything,” she says. “But going through it so many times, I know what to do.” Meditation, yoga, and other spiritual practices, and eating clean, healthy food are part of it, but the real trick is adaptability, switching tasks frequently, and finding ways to circumvent problems. Can’t type? Record with the voice. Right hand injured? Make a sculpture or play music with the left hand “and whatever comes out is the art.” “I think that is partly why my artwork is so idiosyncratic,” she says.

Czacki studied painting in undergraduate school at the San Francisco Art Institute, but soon switched to new genres, intending to focus on video and installation. At the time, she says, she wanted to make “big objects,” but it never really felt right. For many years she felt the pressure to “follow that bureaucratic hierarchical order” and “get really good at one thing,” as either a painter or a sculptor, or to go big-time contemporary artist-style and form a studio with hired assistants. None of this felt right. In grad school, at Columbia University in New York, a faculty member stated “We didn’t know if you were an outsider artist or a genius,” she reveals. “For a while I let it poison me, and then I gained my self-confidence back.” After New York, Czacki pursued a PhD in art history, theory, and criticism at the University of California, San Diego where she produced a dissertation that is part theory and art history, part experimental writing and poetry. Through all these experiences, as some of her peers abandoned object making in the name of Marxist critique, Czacki continued to be drawn to “the making impulse.” “I had read all the art history and theory, but what was missing was the making,” she says.

Returning to object making, and exploring craft, she felt she was accused of participating in “some kind of fetishism” with regards to material. “I did a lot of research on the idea of the fetish as a colonial concept,” she says. “This idea of us being separate from the material world has a lot to do with Cartesian dualism; it’s a very masculine and Western-centric concept of the world.” Western art history privileges history painting over craft, and hand-made ritual objects that existed outside of European aesthetics were denigrated as “fetishes” and eyed with suspicion. Contemporary art theory continues to support this negative view of the “fetish” with the primary means of discussing the value ascribed to objects as “commodities.” Czacki resists this ascribing of hierarchies of value as supporting entrenched institutional, bureaucratic powers. “How those things do and don’t get seen as serious art has a lot to do with people’s relationship to institutional power,” she claims.

“There’s something radically healing about making my own art, and taking the time, turning off my phone for a whole day and focusing on cooking a bunch of meals, making one or two ceramic objects and sewing a patch on a shirt,” she says. For Czacki, the pleasure of indulging in the material, the “beauty and magic” of making, has a subversive side. “I could have continued to launch a critique against Western art history and I still do feel that,” she says, “but in the work is that [critique] while also giving me the pleasure and the healing that I need.”

In her research, Czacki discovered a kind of ancestral link in her attraction to the handmade and her own family history, though she is wary of emphasis on biography. Czacki lived in Poland in her twenties and learned there were deeply complex and conflicting narratives to her family history. “A lot of what I’m doing feels recuperative,” she says. Her relations on the maternal side were farmers and quilters and exhibited a strong relationship to the land—something Czacki has returned to in some ways as well, in the form of growing her own food and creating artworks from leftover fabric and stolen beads (her mother has an impressive bead collection).

Czacki’s fabric works are created intuitively, sometimes suggesting clothing or referencing the body, sometimes taking the form of wall-hangings or tapestries. Her clay works range from the functional to the talismanic, including a whole series of what she calls her “demons.” “I’ll make them when I’m feeling frustrated,” she says, showing me a green-glazed clay object that fits in the palm of her hand. “When I was doing union organizing work I had my ‘union demon’; I had my ‘PhD demon,’ or my ‘person-I-was-dating-last-week demon,’ or ‘my-dog-ate-a-whole-bag-of-rice demon.’” The most planned works, she says, are the paintings, which start from a vision, a color, or a drawing. “I don’t have a hierarchy between the planned or the intuitive,” she notes. “I let myself flow. The art is the easy thing at this point.”

This flow continues through Czacki’s practice in poetry and music. “My poems are telling people verbal information about the art that’s not didactic or narrative or essayistic,” she notes. “It’s pretty simplified and it’s on purpose. I want it to be about a sort of resonance with the material world that I’m trying to have.” The poetry contains an anticolonial endeavor as well: in her dissertation, she references Audre Lorde in how poetry strives for an “irreducible form of knowledge,” and Aimé Césaire, that “Poetic knowledge is born in the great silence of scientific knowledge.” Czacki recently published a 310-page book of poetry and images, entitled Creosote, with Line Script Diary Press, in collaboration with editor Adrienne Garbini.

Czacki is currently collaborating on an album of sounds with Andrew Weathers and Gretchen Korsmo of Full Spectrum Records, based in Littlefield, Texas—between Lubbock and Portales—who are more mutual friends between us (since 2019, Andrew and Gretchen have curated an experimental concert series at the gallery I co-founded in Lubbock). She met them by playing in the Llano Estacado Monad Band (LEMB), which bills itself as a “decentralized, asynchronous, collective, free” improvisational group, and discovered they all had friends in common from San Diego. “This is not uncommon in my life,” she says. “With a lot of my collaborators we will circle around each other in life, and then find a resonance. Collaboration is like everything else in my practice, I end up in a space and a time and a moment where you’re just around certain people and it makes sense.” The limitations of digital collaboration offer another opportunity to discover workarounds and circumventions. Since the pandemic began, LEMB has produced several improvisational pieces performed and recorded via Skype, as well as a couple of socially distant concerts. “I have learned to forgive the digital,” she says. “We’re all having this existential moment where we are learning the limits of the digital while at the same time we have to allow ourselves to let it be what we need.”

The real isolation Czacki felt after her move to Portales became a reality for most of us as we entered this age of social distancing. Czacki evocatively describes her dispersed social world as a “gummy tendrilled support network” or a “forcefield” of people scattered around the world that she can draw on for support. “These ways that we have these spread-out networks—this softness, these reserves—that we have to touch base with,” she gestures with her fingers inching forward. “At this moment we are feeling disjuncted in a lot of ways, so we are reconnecting with people that we’ve gathered along the way.” She adds, “If at any point in life we can take a positive view of something, it’s important, because life is shit and life is hard.”

As we talked, Czacki’s words struck chords of wisdom. Slowing down, pursuing contentment in everyday tasks, focusing on art every day, remaining optimistic—all are ways she has found to “deal with all the pain and trauma in life.” Everyday things become spiritual groundings—“write a poem, make a sculpture, do the wash.” Repeat, rotate, switch tasks. Work with the material, and find pleasure in it.

Feature Posted on 2/8/2021, Printed in Southwest Contemporary, Vol 1, Spring 2021

#in print #feature #highlights

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creativinn · 3 years

Text

Neighborhood Notes: A virtual art exhibition, take-home clay sculpting kits, a new dispensary, and more! - Mission Local

It is looking like a rainy weekend in the Mission, and it finally feels like winter. The stay-at-home-order is in place, but that doesn’t mean you can’t find creative ways to have fun.

Ordering to-go food from your favorite local restaurant in the Mission is a great way to go, or you can pick up a clay-kit to create art at home.

Here are our ideas on how to spend your weekend during the pandemic in the Mission. If you have any other creative ideas, send them to [email protected], or share them in the comments!

Look at some art from the comfort of your home!

Ruth’s Table, an arts nonprofit committed to increasing access to creative opportunities for older adults and adults with disabilities, has a virtual art exhibition, Enduring Inspiration: Part One. The art highlights creativity at home during shelter-in-place and showcases the collective work of artists created through art kits, interactive worksheets, and virtual classes, sharing stories on resilience, identity, and home. Check it out!

Check out a new dispensary!

Bay Area boxer and former NABO junior welterweight champion Karim Mayfield is opening his own cannabis dispensary called Authentic 415, located minutes away from the Chase Center. Karim grew up in the Fillmore, where the War on Drugs had an indelible mark on the community. His journey includes the tragic loss of his brother in 2018 at the hands of the BART Police in Oakland. His new dispensary Authentic 415 is located at 165 Mississippi Street, right off the 280 freeway, between 17th and Mariposa Street. The opening is at 10:00 a.m. on Saturday, January 23.

Create with clay at home!

What is more fun than getting your hands dirty and sculpting with clay? Artillery AG, a ceramics studio and art gallery is offering a take-home clay sculpting kit for $92. It includes clay for two people, carving tools, free firing for 4 vessels and glaze.

Tune in for an interview with artist Nambi E. Kelley! On Saturday at 11:00 a.m. on BRAVA Theater’s Youtube Page, tune in for an interview with Nambi E. Kelley, an actress who currently co-stars on Coronatown, airing on Amazon, and Chicago Med on NBC. Kelley has been nominated for a Black Theatre Alliance Award and a Broadway Theatre World Award. This interview is part of the series So Soul San Francisco Black Arts Salon. Get more information here.

Laugh at people making jokes, and support a good cause!

On Saturday at 8:00 p.m. there will be a fresh lineup of San Francisco’s best comics for FREE on Zoom! Get more information and the Zoom link here. This comedy event happens every saturday, and they have raised over $30,000 for Variety Children’s Charity of Northern California so far. Join in to join the fun.

Enjoy your weekend!

This content was originally published here.

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sliceannarbor · 6 years

Text

Joseph Becker

Associate Curator of Architecture and Design San Francisco Museum of Modern Art San Francisco, California sfmoma.org

Photo by Matthew Millman

SPECIAL GUEST SERIES

Joseph Becker is associate curator of architecture and design at the San Francisco Museum of Modern Art. He has contributed to over twenty exhibitions at the Museum, including the curation of Tomás Saraceno: Stillness in Motion – Cloud Cities (2016-17), and Field Conditions (2012), as well as the co-curation of Nothing Stable Under Heaven (2018), Typeface to Interface: Graphic Design from the Collection (2016), and Lebbeus Woods, Architect (2013-14). During his 11-year tenure, Joseph has also been responsible for numerous major acquisitions for the Museum’s collection, as well as exhibition design and visual direction of many of its architecture and design exhibitions. He has served on architecture, design, and public art panels; been an invited juror at national architecture programs; led workshops on exhibition and experiential design; moderated public dialogue; and lectured internationally. Joseph earned both a bachelor of architecture and a masters of advanced architectural design (in design theory and critical practice) from the California College of the Arts, where he is currently a visiting professor. When Joseph is not working, you can find him sailing his 1979 Columbia 9.6 on the San Francisco Bay, or working on a slow remodel of his 1948 house in Bernal Heights.

FAVORITES

Book: I really avoid playing favorites, and I love books, so I’ll just say that Reyner Banham’s Los Angeles: The Architecture of Four Ecologies is always on my list of required reading, both because of my interest in architecture and as a native Angeleno. I don’t have much time to read for fun, so I’m currently picking at short stories by George Saunders. Just the right amount of weird.

Destination: Marfa. Worth the journey. I’ve been lucky to visit a handful of times over the past few years, doing research on Donald Judd’s furniture practice. The wide open sky of West Texas has a very special quality.

Motto: I once had a keychain that said “Screw it, Let’s do It.”

Prized possession: Right now I’m really excited about my 1953 O’Keefe and Merritt stove, which I just put into my kitchen. I have many small collections of really wonderful and quirky objects, but I love the four-inch pine needle basket that my mom wove for me at our family forestry-service cabin in the Sierras, where I am right now.

THE QUERY

Where were you born?

At home in Los Angeles.

What were some of the passions and pastimes of your earlier years?

Certainly when I was a child I was a big Lego fan. But I also took art classes at Dorothy Cannon’s renown studio in North Hollywood, which exposed me to paint and clay and charcoal. She was an amazingly encouraging teacher.

What is your first memory of architecture as an experience?

When I was four, my parents bought their 1930s ranch house across the street from my mom’s sister, and worked with an architect to build an addition. I have early memories of exploring the house under construction, and especially sitting at the bottom of the empty swimming pool and marveling at the scale and curves and very different quality of space inside the concrete shell.

How did you begin to realize your intrigue with architecture and design?

I think I was always interested in building and making things, even as a child. My dad and I used to make model rockets, and we built my bedroom furniture to my designs when I was around 13. I also remember traveling with my parents in the UK when I was 14, and chose to take them to the Design Museum in London because of an ad I saw in the underground. It was a Verner Panton exhibition, and from then on I was hooked on the idea of total environment. The psychedelic aspect was pretty good, too.

Why does this form of artistic expression suit you?

I think I’m interested in the logic of design and architecture – the creative response to problem solving. But I really get excited when the boundaries break down, and the architecture or design response is an artistic critique of societal conditions, and perhaps a vision for an alternative future.

What led to your coming on board with the San Francisco Museum of Art?

I knew I wanted to study architecture, but not necessarily practice it. My interest in art led me to explore curatorial practice as a way to combine the two.

What is your greatest challenge in this role?

Each exhibition or program has unique challenges. Working with living artists is a really exciting challenge – pushing and pulling in a dialogue while keeping their vision pure. I think the greatest challenge is that I never feel like I have enough time for robust scholarship on any exhibition, no matter how far in advance I begin planning.

Is there a project along the way that has presented an important learning curve?

Each project is an opportunity for growth in a different arena. I think my very first project at SFMOMA, which was designing the giant walk-in freezer that housed the Olafur Eliasson ice-covered hydrogen powered race car chassis called Your mobile expectations, set a high bar. The car fit in the freight elevator by two inches and we had a pretty hard time calculating what it would weigh once laden with its frozen shell.

What exhibition remains most memorable, even today?

There are two exhibitions I have curated that I actually see as a continuation of a single idea. Field Conditions (2012) and Tomás Saraceno: Stillness in Motion – Cloud Cities (2017) each deal with pushing the boundaries of architecture as conceptual spatial practice, with foray into the hypothetical and visionary. I worked with some amazing artists in Field Conditions, and was very excited to put drawings by Lebbeus Woods on view that I had studied in undergraduate school. I acquired those drawings for the Museum collection, and then co-curated the first comprehensive survey of Woods’ work after his passing.

How would you describe your creative process?

As a curator, you’re always looking around for new artists and projects, and connecting them to explorations in the past. I think my process is really just about trying to see as much as possible and trusting my instinct when it comes to what I think is interesting, and want to share with the Museum’s audience.

What three tools of the trade can’t you live without?

I’m completely indebted to our museum library, and the ability to access hundreds of amazing publications. Obviously the internet is an indispensable research tool, but I try to not get mesmerized by it – you can get tangential quickly. And without my glasses I’d have a hard time doing anything, so I have to credit LA Eyeworks for keeping me bespectacled with their amazing frames.

How has your aesthetic evolved over the years?

I lean toward simple and beautiful things, often with history, or some sense of timelessness.

Is there an architect/designer living today that you admire most?

For many reasons, I tremendously admire Olafur Eliasson. His multivalent practice spans many of my interests, from complex geometry to color and light. Beyond sculpture, he works in architecture and design, as well as humanitarian and socially driven design work. And his studio culture is really quite incredible, revolving around food and collaboration.

What has been a pivotal period or moment in your life?

I lost the 1907 loft that I had lived in for a decade to a house fire in 2014. It was a 2,000 square foot unfolding architecture project that I had spent ten years building and rebuilding, and was the center of my world. A fire at the other side of the building ended up red-tagging the entire structure, and all the tenants were subsequently evicted. I spent the next few months in formative self reflection, and can attest to the power of pushing through.

Do you have a favorite artistic resource that you turn to?

I spin through a handful of different art, design, and architecture websites. I think biennials and triennials are amazing opportunities to see so many contemporary projects at once.

From where do you draw inspiration?

Inspiration is everywhere, if your eyes are really open.

What’s the best advice you’ve ever received?

Certainly to remain open to new ideas and experiences. Say ‘yes’ until you have to say ‘no.’ This can be problematic when you say ‘yes’ to too many exciting projects. Really, the best advice is to just show up, and see where it goes.

Is there a book or film that has changed you?

I have always been fascinated by Film Noir for its portrayal of architecture, and the city as a character that is laden with nefarious potential. I love the art of storytelling, whether in cinema, poetry, or history.

Who in your life would you like to thank, and for what?

I am in general incredibly grateful for so many people who have had a positive impact on my life, from family to friends and colleagues. Two people I would love to thank, but can’t, would be both of my grandmothers, who were each incredible artists in their own right and taught me how to look, and see, the creative potential inside me and in the world beyond.

What are you working on right now?

I just delivered a commencement address for the graduate programs at the California College of the Arts, so that was something that I had been focusing on until last week. I’m currently wrapping up the details on an exhibition catalogue that I am the co-author of, with my colleague Jennifer Dunlop Fletcher, on The Sea Ranch, which will launch when the show opens at the Museum in December. Next month I’ll open a small show of Steve Frykholm’s playful Summer Picnic Posters for Herman Miller, which he created from 1970 to 1989. And, in two months, I will be opening an exhibition that I am curating on the furniture practice of Donald Judd, which I am very excited about. We will have Judd-designed chairs outside the gallery that our visitors can sit in!

What drives you these days?

I’m coming out of an incredibly busy six months, with opening four exhibitions, teaching, and writing for various projects, so I’m just counting down days until I can take some time off in August.

#joseph becker #@sfmoma #curator #sanfrancisco #art #museum

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beautifulbizarremagazine · 2 years

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Thank you to everyone that has already entered the 2022 Beautiful Bizarre Art Prize! We are super excited to share some of the great entries we have received so far, including ‘I need a forest fire’ (Coco Liner, wood, resin dyes, glue, static grass, dirt, acrylic paint, Apoxie clay) by Deanna Shaver [Yasha Young Projects Sculpture Award category]If you want to see your work exhibited amongst 90+ of the best contemporary artists at Modern Eden Gallery in San Francisco, USA, share US$57,000 worth of cash and prizes, win advertising packages, see your work published in Beautiful Bizarre Magazine + receive global exposure, enter today! Entries close midnight 17 July 2022.For information on all Award Categories, Prizes, Entry Criteria, Jury Panel and to Enter, please visit beautifulbizarreartprize.art [link in our profile]

The 2022 Beautiful Bizarre Art Prize is proudly sponsored by:

GOLD SPONSORS: Raymar Art, INPRNT, iCanvas, Yasha Young Projects, ArtStation

SILVER SPONSORS: SmArt School, PoetsArtists, Digital Print Makers, Static Medium Print & Photo, Rosemary & Co Artists Brushes

...

#beautifulbizarreartprize #artprize #internationalartprize #inprnt #yashayoungprojects #icanvas #raymar #smartschool #poetsartists #artstationhq #digitalprintmaker #rosemarybrushes #newcontemporaryary #newcontemporary #smarterartschool #newcontemporary #contemporaryart

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thefranklinoutdoor · 4 years

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Don't You Stop, We Won't Stop

EC Brown Lise Baggesen Rodrigo Lara Zendejas

Reopening: Sunday, September 6, 2020

2pm to 4pm

Closing: Saturday, September 19

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You’re getting old, that’s what they’ll say, but Don’t give a damn I’m listening anyway Stop, don’t you stop I can’t live if you stop Don’t you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don’t stop Don’t you stop We won’t stop Don’t you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won’t give in Stop, we won’t stop Don’t you stop I can’t live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…” - Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie’s annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline. For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living. With Edra’s prodding, I’m pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity. EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions. Since 2005, I have mostly operated in Chicago’s domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Interpersonal relationships, intergenerational and intersectional eco- and cyber- and xeno- feminism, reproductive justice, therapeutic aesthetics, color field painting, sci-fi tie-dye, hippie modernism, bio-punk, grunge, glam, and disco, are some of the vernaculars that inform my body of work. Since graduating in 2013 from SAIC’s department of Visual and Critical Studies, this organic body has manifested itself in a hybrid and polydisciplinamorous practice, including writing, audio-visual installations, textile-, and sartorial works. Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active. Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

break from traditional shape, while presenting an assemblage version of our collective social and political thoughts, concerns, and hopes. Although I was trained in the traditions of classical art, my pieces now are not always clean. Or finished. Or beautiful. My work holds the memory of an intimate process of becoming. In some bodies of work, I present obvious nooks and gashes, broad, quick strokes, and secretive, featherlike fingerprints, all of which aided in the modeling of the clay during the process of bringing the subject to life. It is this visceral and intimate approach to materials and form that drive my subjects of memory and memorialization through all of my works. When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present. As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice. Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

COVID-19 update: The Franklin (outdoor project space) is accessible at all times while the exhibitions are on view. The side front and side gates will be open for easy access. No access to indoors (house) at this time. The Franklin Collection is on view by appointment only.

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor

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thepowerofyourotherhand · 5 years

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You Can’t Give from an Empty Cup

Thursday, July 4, 2019

Non-dominant drawing and journaling is being used for training healthcare professionals with great results. This post illustrates the value of in-service support using these methods. Contributed by Dr. Marsha Nelson, she is also co-founder and supervisor of my Creative Journal Expressive Arts Certification Training Program.

You Can’t Give from an Empty Cup

I have been using the Creative Journal Expressive Arts (CJEA) methods for over 27 years for myself and others. During the past two years I have had the honor of introducing Dr. Lucia Capacchione’s methods to a group of dedicated caregivers at a memory care facility in California’s San Francisco Bay Area. These dedicated caregivers tend to their patient’s needs lovingly and with an extreme amount of patience. This is all well and good, but wait, who offers these caregivers any compassion? As Dr. Capacchione makes abundantly clear, “You can’t give from an empty cup.” The administration of this memory care facility has been VERY supportive of their staff members by inviting me to offer the CJEA tools with their compassionate care-giving staff members.

I have created a caregiver’s stress release program which uses the CJEA activities of clay, mask-making, collage, Dancing on Paper (using markers to scribble their stress out to music), journaling using both the dominant and non-dominant hands and movement activities. Currently, I offer the staff 1 to 1 ½ hours worth of self-care activities quarterly per year. I present Dr. Capacchione’s pioneering technique of using the non-dominant hand to draw and then journal with the drawing using both the dominant and non-dominant hands.

I create a topic for each visit to the memory care facility. I talk about the topic for at least 5 to 6 minutes. It could be the topic of grieving the loss of a patient or loved one. First step is to have them draw a picture of how they felt when they learned one of their patients had died. This is followed by a conversation with the drawing to see what it has to say to them. I guide them to write four basic questions with their dominant hand. The answers are written with the non-dominant hand, speaking as the drawing. For participants whose first language is other than English, I always invite them to write in their mother tongue. The human brain is hardwired to the sound of our mother’s or early caregiver’s voice, and our childhood emotion-laden memories are often encoded in our first language. For this reason the language we first heard is important when expressing emotions through journaling.

The four basic questions I share with the participants are as follows:

Who or what are you?

How do you feel?

Why do you feel this way?

What do you have to say to me?

Optional - Is there anything else you would like for me to know?

The caregivers find the act of using their non-dominant hand to be relaxing and insightful as well as fun. I often hear comments such as, “This drawing is better than when I use my dominant hand!” or “I can’t believe this information I have received by using my non-dominant hand!” During my latest visit, the accountant in the office next door to the workshop room shared with me, “I see our employees going into your workshops looking stressed and when they leave they look happy and they are smiling.”

Coaching these employees in balancing their stress with self-nurturing will help them feel better by keeping them emotionally and physically healthy. Here are some responses to an evaluation form question about whether or not other employers had offered them self-nurturing tools:

"NO, never has a company cared about how I feel or has offered any self-care tools.”

“Typically we are only offered training in patient care.”

In addition, another staff member commented as follows: “What you are offering to me is helping me become more aware and understanding of myself as a caregiver.” Dr. Capacchione stresses, “Giving from an empty cup is like poisoning the chicken soup.” When are companies going to wake up to the fact that compassion comes with a price tag? The few hours that this company has donated to their employee’s mental health certainly will help with employee retention and less sick days due to being overly stressed. Undoubtedly this will also lead to higher quality care for the residents.

I look forward to my next visit to California and working with a great staff of caregivers who value our CJEA tools.

Marsha Nelson, PhD

CJEA & Visioning® Training Supervisor

956.802.9993 cell/text

[email protected]

-----

Lucia

Follow Lucia Capacchione:  Facebook/LuciaCapacchionePhD   Download Her Audio Books:  https://luciacapacchione.bandcamp.com  Visit the art shop: https://tinyurl.com/y6nhcowj  Purchase Lucia’s books on: Amazon: https://www.amazon.com/Lucia-Capacchione/e/B001K8C7X4 www.luciac.com  www.visioningcoach.org

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sfaioffical · 5 years

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SAN FRANCISCO BAY AREA:

Clark Buckner — Faculty | Sculpture + MFA Programs

Check out Clark’s curatorial work at Telematic in “Eternal Boy Playground.” The experimental media art by the Anxious to Make art collective will be on view through February 2.

Maria Elena González — Faculty | Sculpture + New Genres

On view at Mills College Art Museum in Oakland January 23–March 17, see the culmination of ten year’s of Maria Elena González’s work in the solo exhibition Tree Talk.

Cait Petersen (MFA 2016)—Assistant Director of Graduate Admissions + Kat Trataris (MFA 2016)—Manager of Exhibitions, Public Programs & Partnerships

Come see the work of SFAI alumni-turned-staff in Incline Gallery’s group exhibition, The UnMonumental, on view January 25th–March 1st.

Taravat Talepasand — Faculty | Painting

You can see Taravat’s work in the 2019 Untitled Art Fair the weekend of January 18–20, or on view at the Yerba Buena Center for the Arts alongside the work of SFAI alumni as part of Bay Area Now 8 (Survey Exhibition), on view through March.

Wanxin Zhang — Instructor | Sculpture

See Wanxin Zhang’s work in Richard Shaw and Wanxin Zhang, on view at the Sonoma Valley Museum of Art from January 19–April 7. If you’re in the south bay, look for Wanxin Zhang’s work on view at Santa Clara University through January 11 in Richard Shaw and Wanxin Zhang: Cultural Conversations in Bay Area Clay.

SAN DIEGO, CA:

Whitney Lynn — Faculty | New Genres

If you find yourself in the San Diego International Airport, be sure to look for Whitney Lynn’s Not Seeing Is A Flower, on view through March, 2019.

LEWISTON, ME:

Timothy Berry — Chair | Printmaking

View Timothy Berry’s work in Anthropocenic: Art about the Natural World in the Human Era (Group Exhibition), on view at Bates College Museum of Art through March 23.

MIAMI, FL:

Maria Elena González — Faculty | Sculpture + New Genres

If you’re in Miami, check out Maria Elena González’s work in Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, on view at Patricia & Phillip Frost Art Museum through January 13.

FORT COLLINS, CO:

J. John Priola — Director | Low-Residency MFA Program

From January 31 to February 23, you can catch J. John Priola’s work on view at The Center for Fine Art Photography in the group exhibition, Contemporary Portraiture.

BERLIN, GERMANY:

Tony Labat — Director | MFA Program

Through January 15, stop by Studio im Hochhaus in Berlin, Germany to see Tony Labat’s work in Radikal Amerika.

HAVANA, CUBA:

Tony Labat — Director | MFA Program

If you can’t make it to Germany but find yourself in Cuba between December 15 and January 19, swing by Figueroa-Vives Estudio in the Embassy of Norway to see Tony Labat’s work in Hialeah Still Life.

IMAGES:

1. Wanxin Zhang, Unbelievable Promise, 2014.

2. GIF: (1) Wanxin Zhang, Unbelievable Promise, 2014; (2) Maria Elena Gonzålez, Bark Framed #5, 2012; (3) © J. John Priola, Bruce Conner Hands #4, 2016. 2. FOG Design + Art Fair, 2019. 3. Irene Pijoan, Cutting From A Gradual (detail).

#SFAIfaculty

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piscesbag21-blog · 5 years

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12 Brands Designing with a Conscience

In partnership with our friends at

It may have taken a few years, if not decades, but ideas like sustainability, transparency, and fair trade are finally part of the national conversation. And it’s not stopping there. “Low-waste-water denim,” “single-use plastic,” and “responsibly-harvested cotton” are terms that companies are now brandishing with great pride. And for good reason: Your closet and your kitchen can have a truly clean conscience.

We’ve rounded up a few of the brands that are doing good—some big and powerful, others small and mighty, and a few that are new to the scene. These lines are thoughtful, stylish, and most beautiful of all, made with integrity.

S’WELL

Founder Sarah Kauss launched S’well in 2010 with a singular mission: Rid the world of plastic bottles. The good news is that S’well’s assortment of bottles has quite literally swelled—from the standard seventeen-ounce version to include tumblers (good for on-the-go morning coffee or a smoothie), and roamers (sized right for the park or for passing around the campfire). The bottles are made using Therma-S’well technology, so drinks are kept hot for twelve hours and cold for up to twenty-four. There are hundreds of colors, ombré patterns, a special collaboration with Liberty London, metallic camos—you name it. Best yet, an ongoing partnership with UNICEF allows S’well to focus efforts on supporting water programs in Madagascar, where 50 percent of the population lacks access to clean drinking water.

BIRDS & BEANS

It’s hard not to take coffee for granted—that is, until you learn about some of the effects of its harvesting. A large population of migrant songbirds that head to central and South America during the winter has been in decline due to a loss of habitat caused by deforestation by commercial coffee farms. In an effort to fight this, the founders of Bird & Beans Coffee dedicates its resources to nurturing natural, shade-grown coffee farms, which are a thriving habitat for the birds. By using environmentally sound and sustainably-grown beans, Birds & Beans helps to preserve more than 100,000 acres for the birds to live in. And the coffee—light, dark, and medium roasts—is robust and delicious.

BIRDS & BEANS FRENCH ROAST DECAF Birds & Beans, $14.25

BOLÉ ROAD TEXTILES

Interior designer Hana Getachew launched Bolé Road Textiles with the intention of getting back to her roots. Combining the two things that mattered to her most—her Ethiopian heritage and love for design—her beautiful, minimalist textiles are not only ethically sourced but handspun in Ethiopia using ancient weaving techniques. The result is authentically crafted pillows and textured throw blankets in abstract patterns that are as soft as they are pretty.

BOLÉ ROAD MAMOOSH BLANKET goop, $125

HERMÈS

Documentary filmmaker Frédéric Laffont gets an all-access pass to the storied French house—spending time in a leather-goods workshop in Montbron, France, or witnessing the tradition of silk marbling in Kyoto. Through Footsteps across the World, a series of short films, it’s clear that the what sets Hermès apart is truly the commitment to craftsmanship and the artisans whose precise attention to detail keep the brand moving forward. Particularly charming is the story of the Prudhomme brothers, who oversee a leather workshop in Pantin, France, where they serve as equal parts gatekeepers and mentors.

LEVI’S

The most classic of classic American brands has been pushing boundaries when it comes to large-scale production, implementing techniques that use far less water than traditional methods and working to source 100 percent of its cotton sustainably by 2020. With the midterm elections approaching, Levi’s has teamed up with Rock the Vote to create a limited-edition T-shirt encouraging everyone to exercise their right to vote; select Levi’s storefronts across the US will also have voter-registration stations.

OUTERKNOWN

“We’re surfers who grew up with surf brands, but we grew out of logos. We want to make clothing that’s made better and looks better,” says John Moore, who started Outerknown with surfing champ Kelly Slater. As part of their Social Environmental Accountability program, they launched S.E.A. Jeans, using 100 percent organic cotton from Candiani and Isko—two of the most respected mills in the world. Their denim is produced in Saitex in Vietnam, a solar-powered factory that recycles 98 percent of the water used in development; they also air-dry the jeans to save energy. The collection is also backed by a lifetime guarantee, meaning they’ll repair or replace damaged pairs, too.

OUTERKNOWN S.E.A. SHIRT Outerknown, $78

OUTERKNOWN S.E.A. AMBASSADOR SLIM FIT JEANS Outerknown, $168

PARKER CLAY

Ian and Brittany Bentley were living in Ethiopia, where they’d adopted two young girls, when they had their lightbulb moment. Ian was shopping for a birthday gift for Brittany when he came across a beautifully made leather bag at a local market. After learning that high-quality, ethically sourced leather was being produced by tanneries in Addis Ababa, the Bentleys decided to launch a business that would allow them to employ local women, many of whom who previously had been involved in sex trafficking. The idea was to give the women an opportunity to sustain ethical work opportunities—and become financially independent.

The women Parker Clay works with often become the breadwinners in their homes and are able to send their children to school, prepare balanced meals for their families, and ultimately break the cycle. The line includes plenty of carryalls, leather envelopes, and Dopp kits, but we’re partial to the overnight weekend bag, which is made from the kind of super soft grain leather that only gets better with use.

PARKER CLAY OMO OVERNIGHT BAG Parker Clay, $268

RAVEN + LILY

We first fell for Raven + Lily’s buttery-soft leather bags; chunky, rustic brass jewelry; and silky jumpsuits. Then we learned how the brand has been empowering women since its inception in 2008 (it was first founded as a nonprofit and evolved into a for-profit business in 2011). Raven + Lily employs female artisans—currently more than 1,500—in impoverished countries across the globe. The company provides them the chance to make a fair living by creating their handmade items for the brand, all of which are made of sustainable materials. Even more heartening, Raven + Lily gives back a portion of its earnings to help fund loans and skills training to women living with HIV.

RAVEN + LILY ANYA BRASS HOOPS Raven + Lily, $32

ROTHYS

Two guys from San Francisco spent four years figuring out how to turn plastic water bottles from recycling centers into comfortable, machine-washable flats that women would actually want to wear. The result is Rothys—line of loafers, ballet flats, and slip-on sneakers made of a sustainable, stretchy, lightweight woven fabric in bright colors such as lemon drop and persimmon, plus classic shades like navy and sand. The manufacturing process is pretty fascinating, too: Water bottles are chipped into flakes and converted into pellets. The pellets are then heated and turned into soft filaments of plastic before they’re knitted using a 3D machine, a precise process that minimizes waste. It takes six minutes. And the ethics behind the business go beyond fair labor and a state-of-the art facility in Dongguan, China—they also counteract the fossil fuels used for shipping by purchasing carbon credits to fund Project Envira, which converts carbon emissions back into oxygen.

ROTHY’S THE POINT Rothy’s, $145

SIEN + CO

Working closely with independent Peruvian and Argentinian artisans to find the best textiles (organic Pima cotton, sheep and alpaca wool handwoven on looms in their own backyards), Alexandra Gibson launched Sien + Co in 2016 with a range of ethically sourced, handcrafted knits and sustainable home décor. We particularly love the giant, handwoven decorative pillows, chunky throws, and natural rugs made with earthy pigments derived from local plants and other natural resources.

GRANA HANDWOVEN PILLOW goop, $280

ZAHAVA

Jessica Hendricks Yee is no stranger to leveraging fashion to make an impact. In 2012, she launched the Brave Collection, a line of jewelry handmade by fair-trade artisans in Cambodia, and donated 10 percent of the profits to help fight human trafficking. “The drive to create brands with a positive social mission has become a part of me and the way I think about business,” explains the serial entrepreneur. In fact, her passion for combining fashion and philanthropy is what jump-started Zahava, a thoughtfully sourced line—she works with master metalsmiths in Tel Aviv and all the diamonds are conflict-free—that explores the notion of cross-cultural heirlooms. Hendricks Yee, who recently had her own Jewish-Chinese wedding, wanted to design pieces that celebrate all cultures—and are meant to be passed down. There are pendant necklaces engraved with protea flowers to celebrate renewal, pomegranates to honor inner beauty, plus rings with engraved sayings like “The light within” and “I am here.”

ZAHAVA MINI GOLD ATLAS NECKLACE Zahava, $430

Source: https://goop.com/style/decorating-design/12-brands-designing-with-a-conscience/

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