Art & Development, Community

they’re prepared

This is my first time working with an institution as large as YBCA, and it’s been really neat.

Over the past few days, I’ve been installing my work for Galleon Trade: Bay Area Now 5 Edition (which opens Thursday, Sept. 4) with help from the lead preparators, Justin Limoges and Justin Wyckoff. They’ve been friendly, calm, helpful and meticulous. YBCA’s also got a on-call, kick-ass installation team, which includes the fabulous Tammy Kim, who have transformed the Terrace Gallery in no time at all.

I often exhibit at spaces with fewer resources, and I am happy to bring my own tools and install my own work, but working with YBCA has been a welcome change of pace. For example, my kinetic sculpture needed to be mounted on YBCA’s 14-feet-high ceiling and I’m not really a fan of heights, so I was looking forward to handing that off to a professional! It was nice enough that someone would go up on a ladder to hang my heavy, unwieldy sculpture of moving parts, but I wasn’t prepared for the moment when Justin took out a tape measure to get the baseboard just 1/8″ over, making it parallel to the lighting track. That kind of obsessive attention to detail is usually exhibited by artists installing their own art, so to have it automatically extended to my work, even as a zillion other installation details need to be attended to, made me feel extremely grateful for this exhibition opportunity.

Thanks to the hard work of the installation team (and their sacrificed holiday weekends!), the opening is three days away but the gallery is already looking great. Megan’s site-specific installation is looking great, and works by the paired photographers (MM Yu and Gina Osterloh) and painters (Johanna Poethig and Norberto Roldan) are looking really cohesive.

Hope you can come see Galleon Trade!
Opening: Thursday, Sept 4, 5-8 pm, YBCA

Cheers to the unsung heroes of the art world.

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News

Galleon Trade opens at YBCA Sept. 4

galleon trade opening reception

Galleon Trade Opening Reception
Thu, Sep 4, 2008, 5–8 pm

Yerba Buena Center for the Arts
701 Mission Street, San Francisco, CA 94103-3138
tix 415.978.ARTS
FREE with gallery admission

Join us as we celebrate the opening of Galleon Trade: Bay Area Now 5 Edition, a collaborative project for Bay Area Now 5 guest-curated by Jenifer Wofford.

Galleon Trade builds international bridges between the Bay Area and other cities on the globe through a process of exchange and dialog. Taking the historic Acapulco-Manila galleon route as a metaphor of origin, the Galleon Trade exhibitions seek to create new routes of cultural exchange along old routes of commerce and trade. Galleon Trade I brought work by twelve California artists to three galleries in Metro Manila, Philippines in summer 2007. Galleon Trade: Bay Area Now 5 Edition addresses the deeply transnational ties between the Bay Area and the Philippines by pairing artists from both places. It features work by local artists Jaime Cortez, Megan Wilson, Johanna Poethig, Gina Osterloh and Christine Wong Yap, all of whom went to Manila with the project in 2007, and met many local artists. Their work is in conversation with the work of five artists from Manila: Poklong Anading, Norberto Roldan, Maria Taniguchi, Yason Banal, and MM Yu.

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Citizenship

Proud to be Chinese American

What they say about opinions—everybody’s got one—is why I’ve been reluctant to voice my own. But in the midst of cynical, derisive, Other-ing coverage of the Olympics, the know-it-all attitudes about democracy and environmental consciousness constantly declared by my fellow Americans, and the shrill, divisive allegations of “shill” at the slightest hint of nationalism, I’m starting to reach the end of my rope.

China’s wrongs make a long list… Sudan, Tibet, the Three Gorges Dam, human rights, the environment, air quality, state-controlled media, restrictions on free speech and freedom of the press, the Cultural Revolution…. You’d have to live under a rock to avoid these valid complaints registered as China seeks respect in the global community.

But I’m skeptical that, unless you’re a politician or a writer for the New York Times, your carping bothers China more now than before. This is a country with 5,000 years of history and culture, and a very recent revolutionary past. How pompous it is to think that the PRC would just adopt Western ideologies if the blogosphere disses it enough. China has undergone massive changes in the past few decades, and I hope that its forthcoming changes will do more good than harm. Still, my fellow Americans seem to lack the most basic knowledge about Chinese history, people, and culture, and in place of the willingness to participate in a true discourse with Chinese people, I’ve witnessed major cynicism.

What bothers me most about this suddenly pervasive criticality of China’s policies is the colonial subtext that Westerners are more advanced; we know better.

But are we more advanced?

Americans committed frightening acts of environmental devastation during our Industrial Revolution. In the process of becoming a world superpower, we’ve deforested our own “land ‘wooded to the brink of the sea'” (as described by Pilgrims quoted in Barbara Freese’s Coal: A Human History, 103), fraught our American cities with the “‘frightful infliction'” of coal smoke (Freese 149), and created horrifying Burtynsky-esque quarries.

But that’s all in the past, you might argue, Now, we recycle, eat organic goat cheese and drive hybrid cars! But the fact is, while air quality may have improved, we’re continuing to do exceptional damage to the atmosphere: North America is responsible for 46.4% of carbon emissions in the world, and has been consistently responsible for far more carbon emissions per capita than any other region.

So we want China to do as we say, not as we do. We want China to stop burning coal to manufacture cheap goods, but we can’t stop buying stuff. We want China to improve the quality of life for its migrant workers, but we can barely mobilize our own representatives and workforce to hold American corporations with cut-throat practices like Walmart responsible for treating workers decently, much less negotiating higher standards among overseas manufacturers. We want China to improve its human rights record, yet our own government refuses to adhere to the Geneva conventions at Abu Gharib, Guantanamo Bay, or in the CIA’s extraordinary rendition program (see A.C. Thompson’s and Trevor Paglen’s Torture Taxi: On the Trail of the CIA’s Rendition Flights).

Seems hypocritical to me.

“The” Chinese

The Olympics coverage also brought to light how some Westerners have a habit of saying “The Chinese” to connote a monolithic race, a country of bicycle-riding, uniform-clad, ageless Orientals, where everyone is blessed with “ancient wisdom” but ignorant of, say, the effects of pollution.

It sounds positively Borg-like. In Star Trek,

The Borg were a pseudo-race of cybernetic beings, or cyborgs, from the Delta Quadrant. No truly single individual existed within the Borg Collective (with the possible sole exception of the Borg Queen), as they were linked into a hive mind. Their ultimate goal was perfection through the forcible assimilation of diverse sentient species and knowledge. As a result, they were among the most dangerous and feared races in the galaxy.

http://memory-alpha.org/en/wiki/Borg

If this doesn’t sound like the fictionalization of a stereotype of inscrutable Asian Communists, I don’t know what does. If I sound bitter, it’s because I’ve witnessed firsthand how a casual conversation among Americans can move from steel manufacturing to Chinese coal to dog-eating in 30 seconds flat.

However, I’ve been to China, and I can testify that China is more diverse than most Americans expect. There are, in fact, ethnic groups. There are regional dialects, cultures, even cuisines! Also unlike the Borg, people think for themselves.

I could do without the perception of homogeneity, as well as the condescension of Chinese culture and people—such as my neighbor’s singalong to the Chinese national anthem, with only the words “ching” and “chong.”

Uneven Criticality

I could also do without MSNBC’s broadcasters trying “weird” food, since with all of the criticisms lodged against China, you’d think there would be more critical thinking on Americans’ own tourist gazes.

The tourist gaze seeks out visual representations that reinforce difference, based on one’s values, culture and identity. In other words, you only see what you want to see. I saw this borne out in my visit to China: Maoist propaganda was widely available, but only in tourist areas. Clearly, a state and a populous are two different entities. I, for one, would not wish to be lumped into the same group as our current presidential administration, yet many Americans find no problem lumping together the Chinese state with Chinese people.

The extent of the wolfish savoring of Chinese difference seems especially clear in the coverage of the lip sync flap. I believe this news item was lambasted beyond reasonable proportions because it suits very old American perceptions of Chinese people — corrupt, manipulative and untrustworthy. As Bret Harte wrote in his 1870 poem, “The Heathen Chinee”, Chinese people are peculiar for their “ways that are dark / And for tricks that are vain.”

gleason_sfexaminer

An example of the offhandedly derisive coverage; in this author's blog, the lip syncing flap warrants a judgment of China as a whole. SF Examiner.

Of course, it is completely hypocritical for Americans to cast judgment. Americans have been known to be superficial and manipulate because of it, too: Remember Zelma Davis lip-syncing Mary Wash’s part in C+C Music Factory’s “Gonna Make You Sweat”? And we don’t spare children from our media culture either: it’s not a stretch to imagine that the freakish longevity of the obsession with JonBenét Ramsey is abetted by her doll-like image in pageant photographs. How easy it is to be critical of China, rather than actually do something to reform our own standards of beauty, and the way women and girls are valued.

The Rugged Individualist

With erudite disdain characteristic to the New Yorker, George Packer (“The Only Game in Town,” New Yorker Magazine, August 25, 2008) wrote about the opening ceremonies

Was this a front, or had the government realized that the patois of mushy togetherness is now a lingua franca, not least in commercials, and thus well worth acquiring? On every seat was a sack of goodies, and we were duly taught to rattle our drums, wave our Chinese flags, shake our funky light sticks….

I understand Packer’s skepticism of the Chinese government, but really, sometimes a glow stick is just a glow stick. Relax! Is putting aside one’s individuality and cynicism to show unity with people from around the world at the Olympics breaking your moral compass? That’s like attending a youth conference and trying to look cool by not participating. What’s the point?

Americans, it seems, can’t seem to come to terms with the fact that Chinese culture has always emphasized group identity (family, village, and, yes, the state) before individual identity. To a jaded journalist, waving a glow stick feels uncomfortably like being a mindless shill in the grand machinations of the PRC. But I imagine if a Chinese person believes that the Olympics is biggest thing to come to China in his or her lifetime, waving a glow stick is a way to be part of a group bigger than one’s self, village, and even, one’s state—an exhilarating opportunity for people in a society that’s been closed for so long.

There was a time not too long ago when China-bashing was reserved for job protectionists, Ford/Chevy owners, and pro-Tibet movements; that seems like the good old days. I’m afraid, though, that now that the tongues have been unleashed, the economy worsens, and the American Century twilights, much more mindless China-bashing is in store. I know my fellow Americans don’t take their freedom of speech for granted, but I wish they’d be a little more thoughtful and curious about the world with it.

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Research

Eigengrau: your default desktop color

Even in the absence of light, we do not perceive total darkness. Maybe humans are intrinsically optimistic?
From http://en.wikipedia.org/wiki/Eigengrau, accessed August 16, 2008:

Eigengrau (German: “intrinsic gray”), also called eigenlicht (“intrinsic light”), dark light, or brain gray, is the color seen by the eye in perfect darkness. Even in the absence of light, some action potentials are still sent along the optic nerve, causing the sensation of a uniform dark gray color.

Eigengrau is perceived as lighter than a black object in normal lighting conditions, because contrast is more important to the visual system than absolute brightness. For example, the night sky looks darker than eigengrau because of the contrast provided by the stars.

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Research

doom and gloom

2008 seems to be the year of despair in contemporary art. I keep coming across exhibitions about uncertainty, failure and futility. Valerie Imus first brought it to my attention with her exhibition, Hopeless and Otherwise at Southern Exposure this past spring.

Recently, critic Peter Schejdahl wrote that the art world is “Feeing Blue” (New Yorker, August 4, 2008 ) in a review of After Nature at the New Museum:

Something is happening in artists’ studios: a shift of emphasis, from surface to depth, and a shift of mood, from mania to melancholy, shrugging off the allures of the money-hypnotized market and the spectacle-bedizened biennials circuit. (In fact, the underappreciated recent Whitney Biennial hinted at the mutation.) It’s a fashion auditioning as a sea change….

against happiness eric g wilson
Likewise, in publishing, it couldn’t be a better time for a book about melancholy. The graphic design of the book’s cover (an un-happy face rendered only with type and a flat field of color) is brilliant, but I’m afraid that the premise sounds suspect. Like the artist-character on NBC’s Heroes whose “super power” is shooting heroin and seeing psychic visions, the book seems to perpetuate the artist-as-suffering-genius myth.

While I welcome the return of sincerity over irony, I’m wary of politically-charged contemporary art accompanied by moralizing from on high. For example, in a recent round table discussion about Bay Area art, one’s birthplace, year of migration to the Bay Area, and knowledge of local histories were occasionally treated like forms of currency. They became special statuses. And special status plus basic political frameworks equals very easy critical positions, but not necessarily good or interesting art. There has to be a payoff.

This past summer, Smack Mellon‘s exhibition, There is no synonym for hope, seemed focused on uncertainty and failure, but importantly, it also acknowledged “the interrelationship of hope and failure.” Yes, that is the productive dialectical tension I’ve been talking about!

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Community

Blasts from the Pasts

Ryan Furtado shoots incredible photos. Because he’s gonzo. I was lucky to know this dude at YO! Magazine, ages ago. Go see ’em, and you will feel lucky to see a little of what this guy’s seen.

Thursday, August 14
Opening: Photos by Ryan Furtado

BEYOND THE OCEAN OF ANXIETY
Ryan Furtado presents a collection of over 30 photographs taken between 2002 and 2008. These pictures explore a variety of contrasting people, places and situations through out the United States and abroad. Edited from years of various assignments, trips, and journeys down the rabbit hole, it is subjective glimpse into the kaleidoscope of humanity.
Opening Reception: August 14, 2008, 5-9pm
[Hamburger Eyes’] Photo Epicenter, 26 Lilac St. SF

Plus,
More Zach Scholz…

Wednesday, August 13
Opening: Zachary Royer Scholz at The Lab

Yet To Be Determined
August 13 – September 6, 2008
Opening reception: Wednesday, August 13, 6-9 PM
Closing reception: Friday, September 5, 6-9 PM
Gallery Hours: Wednesdays – Saturdays, 1-6 PM
Zachary Royer Scholz’s site-specific installation directly engages the physicality of the Lab’s main gallery space. Deviating from the typical installation-exhibition-deinstallation cycle, Scholz’s show opens shortly after he arrives in the space and closes just as the work reaches completion. Allowing the site to act as a collaborator, the artist will produce objects and situations using the Lab’s unique architecture and objects found there as a starting point. The audience can view the work in a static state when the artist is absent or come while he is there and witness the work in a state of flux. Viewers are encouraged to visit and revisit the space as this collaboration evolves.
The Lab, 2948 16th Street, San Francisco

And,
taking it way, way back,
to CCA circa 1998…

Saturday, August 16, 6:30pm – 10:00pm
Opening: Group show with 5 CCA mofos at Giant Robot SF

You Only Excist Because of Us
Exhibition: August 16, 2008 – September 17, 2008
Opening: Saturday, August 16, 6:30pm – 10:00pm
You Only Excist [sic] Because of Us a group show featuring the work of Ryohei Tanaka, Ako Castuera, Sean Boyles, Joe To, and Rob Sato.
GRSF
618 Shrader Street
San Francisco, CA 94117

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Art & Development, Research

Hope is rare

“In photometry, luminous flux … is the measure of the perceived power of light. It differs from radiant flux, the measure of the total power of light emitted, in that luminous flux is adjusted to reflect the varying sensitivity of the human eye to different wavelengths of light.”
http://en.wikipedia.org/wiki/Luminous_flux

Luminous flux accounts for the relativity of perception, in the same way that optimism and pessimism can flux from one to the other.

optimism and pessimism chart

I think of optimism and pessimism as inseparable poles, whose ambi-valent pulls are equally strong, producing a productive state of dialectical tension. But my latest work is premised on the idea that hope is rare and requires willpower, while pessimism is abundant and passive.

According to Adam Cohen, in his review of Joshua Foa Dienstag’s Pessimism: Philosophy, Ethic, Spirit (nytimes.com, August 28, 2006), “Pessimism is not, as is commonly thought, about being depressed or misanthropic, and it does not hold that humanity is headed for disaster. It simply doubts the most basic liberal principle: that applying human reasoning to the world’s problems will have a positive effect.”

So it occurred to me that the metaphor of light and dark for optimism and pessimism lends itself to the idea that hope is rare and pessimism is abundant. Because light, which often represents hope, is rare — especially when you consider that only visible light connotes hope, while the rest of the electromagnetic spectrum bounces around and through us, constantly and imperceptibly.

Even the view that hope is rare may seem pessimistic. But rarity suggests a thing that becomes valued, cultivated, appreciated.

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