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Arthur Szyk: beauty in fairy tale… and Stalin

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Nowadays, being up on the news can actually make us stupider (more stupid, damn!), but when cartoonist Arthur Szyk was sketching his dense, fantastically detailed news caricatures, politics were still in need of explication – and all the more better if it was beautiful to boot. How else can one explain why one of the most whimsical artists of the 1930s and ’40s became best known for his sketches of Hitler and Stalin playing poker?

Szyk’s jewel box of an exhibition is on view through March 2011 at that jewel box of a museum, the Legion of Honor. How lovely is the Legion of Honor? Though its offerings are often obscured by its big box fine art peers like the de Young and the SFMOMA, the Legion itself is a French neo-classic temple compared to the blatant modernism of its more centrally-located brethren. Where else, for pete’s sake, can one find a meticulously transposed Louis-whenever parlor room adjacent to a hall full of Rodin sculptures? 

A multi-media art experience, I reflected, passing under a mudejar ceiling from late 15th century Torrijos region of Spain, on my way to the museum’s corner hideaway gallery no. 1 that housed Szyk. Who was a firecracker, really. Born to a Jewish Polish family, Szyk was one of the first political caricaturist to sketch out against the Führer. His Haggadah series (1932-1938) correlated Hitler’s rise with the traditional story of the Israelites’ biblical flight from Egypt. 

Though his original message was somewhat watered down by the drawings’ group publication in 1940 (the publishers erased all the swastikas from the drawings – que what?), it was still considered one of the most beautiful works of the time. Szyk was also outspoken about his adopted country’s lack of action in the face of evil – the US fell under the wrath of his pencil for its sluggish rise to action during World War II. 

The man’s drawings are pure, extravagant beauts. The drowsy, yet watchful eyes of the Legion security guards (legion guards! Drama!) prevented me from nosing in quite as close as I wanted to them – the sentries probably get sick of wiping off the glass – but even so. Even so, there were his illustrations for a deck of playing cards, his whip-smart rendering of a poker game between Hitler and Stalin — with the Angel of Death looking on intently. His sumptuous creations for the 1955 edition of Arabian Nights Entertainment. His faces are so detailed that they bely the fact that they are portraying fictional characters. His details are so extraordinary its no wonder that a lot of adult children will get a sense of time travel vertigo dipping into his stash of kid’s book illustrations. The flowers with faces Szyk brought into being for the 1945 edition of Andersen’s Fairy Tales — well Walt, you have some explaining to do about Alice’s rose garden buds.

You should be witness to all this, of course. While you’re there, check out the Legion’s marquee showing of Japanese and Californian and French-via-Japan prints in the basement (Japanesque, through Jan. 9). And the Legion cafe, of course, which is always crammed full of old people and is an excellent place to enjoy a cup of coffee or esoteric Asian soda pop. 

 

Arthur Szyk: Miniature Paintings and Modern Illuminations

Through March 2011

Legion of Honor

100 34th Ave., SF

(415) 750-3600

www.famsf.org

 

The Performant: Big ideas, small packages

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Taking size of the One-Minute Play Festival and Monsters of Accordion

I’m a sucker for miniaturization. Sushi erasers, super-strong magnets, marzipan fruit baskets, teeny-weeny screwdrivers; anything you can pack into a matchbox or stuff into a watch-pocket makes my spirits soar. So I was naturally keen to take in the One-Minute Play Festival at Thick House. Sixty-three 60-second plays performed in a quicksilver stream of actors, action, and scene. A good example of where miniature does not automatically equate “cute” or “precious” but rather “succinct” or “direct,” the one-minute play is an exercise in brevity and restraint.


Without time for lengthy exposition or backstory, the plays had to cut straight to the heart of a single moment of impact. Admittedly, many of the moments chosen by playwrights basically amounted to humorous set-ups with stand-up style punchlines — a PTA meeting of horny housewives (“P Trois A,” by Lauren Gunderson), a vengeful lover ordering a swarm of poisonous jellyfish online (“Irukanji,” by Steve Yockey), a pair of odes to male bonding ritual (“Manly Men,” by Qui Nguyen; “Handshake,” by Erin Bregman). But other plays sought to explore loss (“Kosovo,” by Garret Jon Groenveld), revenge (“Last Chance,” by Elizabeth Gjelten), and betrayal (“Later, a Letter,” by Evelyn Jean Pine).

What became swiftly apparent was that while it’s really difficult to tell an individual playwright from another in just one minute, the individual directors who were each given twelve to thirteen minutes worth of stage time apiece were able to really stamp their own personal signatures onto the proceedings. Paul Cello went for stylized movement and uniform basic black outfits for all his actors, Meridith McDonough and Jonathan Spector used plenty of props, Desdemona Chiang used extra actors and paid extra attention to lighting and sound design. It made me interested to see them take the experiment of the one-minute play festival even further. What if you had one one-minute play… and sixty directors? Would it be an exercise in déjà vu—or something possibly much more intriguing?
 
Meanwhile, at Slim’s, the “Monsters of Accordion” (aka “Jason Webley and friends”) were exploring humor and tragedy in their own way with that most bizarrely beloved all-purpose instrument of all time—the piano accordion. Talk about the wonders of miniaturization! An accordion may not be a small instrument, but the number of instruments it can take the place of can turn a single master wielder into an orchestra unto themselves. And when you get an entire pack of them onstage together, well, “monsters” is a good descriptor! Also passionate geeks and secret saboteurs of the mundane. From the sinuous swing of The Petrojvic Blasting Company, the Cajun stomp of local gal, and lone button accordionist, Renee de la Prade, or the gleefully demented Bacteria song first written by Webley for a roomful of scientists studying fruit-bat fellatio, the stylistic range spanned continents, eras, possibilities. And much like acollection of short-attention-span-style plays, included humor, collaboration, applause.

Chickpeas and kugel: two recipes for a very veggie Christmas

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I started seeing retail sales around town marked “last minute Christmas shopping events” a week and a half ago – who are these freakish people that think two weeks is not enough time to score trinkets for one’s loved ones? 

I hereby present to you two holiday recipes from the hottest new vegan and vegetarian on the market — with the explicit reminder that you have ample time to prepare them before a nice Friday night ‘neath the Christmas tree, clutching bowls of chickpea piccata and vegan kugel, and munching in time to a bangin’ holiday mix. Oh wait, I didn’t get a tree yet either. No matter baby — we got nothing but time.

And our favorite veggie Thanksgiving recipes can make the kitchen scene this weekend too! No one has to know that their stomach’s time continuum is being shifted… 

 

Vegan kugel with broccoli rabe and chanterelles

From Jenn Shagrin’s Veganize This! (Da Capo, 256 pages, $19) 

Hey goy! The Jews know what’s good when it comes to festive comfort food recipes. Kugel’s a big, sweet mess of noodles – perfect for your big, sweet mess of loved ones (or just for you if that’s the extent of your wolf pack).

Serves 6

1 (1-pound) package egg-less noodles

1⁄2 pound broccoli rabe

6 tablespoons (3⁄4 stick) vegan margarine

1 clove garlic, minced

1 large yellow onion, diced

1 cup chanterelle mushrooms, cleaned well

1 (12-ounce) package extra firm tofu

1 cup vegan sour cream

1 1⁄2 cups vegan scrambled eggs (page 27)

2 teaspoons kosher salt

Freshly cracked black pepper

Preheat the oven to 350°F, and grease a 9 by 13-inch baking dish.

Cook the noodles in a large pot of salted water until just al dente, then rinse with cold water and toss with a touch of cooking oil to prevent sticking.

Prepare an ice bath (a large bowl of ice water), and set aside.

Bring a medium-size pot of salted water to a boil, drop in the rabe, and allow to cook for 2 minutes. Drain the rabe, then plunge immediately into the ice bath. Drain well again and set aside.

Melt 2 tablespoons of the margarine in a large skillet over medium-high heat, then add the garlic. Sauté for 30 seconds, then add the onion and sauté until almost translucent. Add the rabe and chanterelles and sauté for another 4 to 5 minutes. Remove the pan from the heat and set aside to cool.

In a food processor, blend the tofu and crème fraîche until mixed well. Don’t overprocess; there should still be tiny pieces of whole tofu visible.

Using a spatula, transfer the sautéed vegetables to a cutting board. Use a sharp knife to chop roughly. In a large bowl, combine the vegetables, tofu mixture, and all the rest of the ingredients except for the cooked noodles. Once mixed well, stir in the noodles and transfer to the prepared pan. Bake for 50 to 60 minutes, until the top is browned and the center is firm.

 

 

Chickpea piccata

From Isa Chandra Moskowitz’s Appetite For Reduction (Da Capo, 336 pages, $19.95)

Another great vegan recipe that you only need a half hour to create from start to finish – heads up, procrastinators! Chickpea piccata looks fancy, is a great source of fiber, and the little peas are great at helping you detoxify sulfites (preservatives that are found in a lot of processed food, particularly salad dressings).

Serves 4 

1 teaspoon olive oil

1 scant cup thinly sliced shallots

6 cloves garlic, sliced thinly

2 tablespoons bread crumbs

2 cups vegetable broth

1/3 cup dry white wine

A few pinches of freshly ground black pepper

A generous pinch of dried thyme

1 (16-ounce) can chickpeas, drained and rinsed

1/4 cup capers with a little brine

3 tablespoons freshly squeezed lemon juice

4 cups arugula

Preheat a large, heavy-bottomed pan over medium heat. Sauté the shallots and garlic for about 5 minutes, until golden. Add the bread crumbs and toast them by stirring constantly for about 2 minutes. They should turn a few shades darker.

Add the vegetable broth, wine, salt, pepper, and thyme. Turn up the heat, bring the mixture to a rolling boil, and let the sauce reduce by half; it should take about 7 minutes.

Add the chickpeas and capers and let heat through, about 3 minutes. Add the lemon juice and turn off the heat.

If you’re serving the piccata with mashed potatoes, place the arugula in a wide bowl. Place the mashed potatoes on top of the arugula and ladle the piccata over the potatoes. The arugula will wilt and it will be lovely. If you are serving the piccata solo, just pour it right over the arugula.

Renegade Crafts Fair stuffed our stockings with future gift ideas

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Martha Stewart would have been awed had she found her way to the Renegade Crafts Fair at the Concourse Exhibition Center this past weekend, 12/18-12/19. The amount of creative crafters packed into one space was overwhelming, and Martha would have found it quite inspiring.

The meandering crowds, diligently finishing up their holiday shopping, had a plethora of cool commodities to pick through, from vintagey Polaroids by Sprout Studio, to a hip stuffed-animal owl by Doris Anne. For those who wanted a truly creative gift, squished in the middle of the isle was The Poetry Store, where you could have Silvi Alcivar write you an impromptu poem for that special someone. There were also items that would have been totally dude-approved, including carefully crafted wooden watches by Mistura, and all-recycled bicycle clocks made by Oakland’s 1 by Liz.

The two cutest vendors at the fair were Ysabella and Anna Patricia Designs flower headbands (whose model was asleep in her stroller, which just added to the cuteness) and Twinkie Chan, who was working on a string of crocheted popcorn when I passed, but was also selling crocheted pizza scarves and cherry earrings.

And finally there were my two favorite vendors: first, Double Parlour‘s totally weird and wonderful dolls that were so expressive it was eerie. And then (boy, I wanted everything from these guys!) the awesome Native American inspired clothing and jewelery by The Local Branch. I especially loved their Hippie Fringe Necklaces, that were so undeniably handmade, making them ever so irresistible.

Ok, people. Christmas is just a few days away. I’ve done the hard part of finding all the awesomeness. Now you just need to buy it!

Nathan Habib keeps it kosher

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“I’m a really practical person. That limits me from driving out to a club the city and coming back in the morning to take a test.” Nathan Habib’s not living the rock star stand-up comedian life just yet. But that’s not to say that Habib (who will be performing at Kung Pao Kosher Comedy‘s holiday run Thurs/23-Sun/26) isn’t dedicated to making people laugh. He’s been performing for seven years – and he’s 21 years old.

Habib’s standard promotional copy calls him “confidently awkward,” and this is actually how he comes across when I meet with him at Farley’s coffee shop on Potrero Hill. I’m late, of course, and he’s begun to read from the rack of magazines besides him, but he quickly shelves the material to say a very polite hello as I approach.

Habib is from a strong Israeli-Latvian-Italian family with a big social network in Palo Alto. His mom is the lovingly pushy type of mother that approached Kung Pao founder Lisa Geduldig after her son fell in love with New York comedian Greg Rogell’s act that night. “Traditional Jewish mom, telling her I’m a comedian like I’ve been doing it forever or something,” Habib laughs.

Whether Geduldig took the endorsement with a grain or salt or not is questionable, but the fact remains that she listened to mom’s assertion that her 14 year old son was serious about stand up. She put Habib into the lineup of one of her shows before (this week’s run will be Habib’s second with the series), and provided support for the kid as he traversed the world of high school open mics and comedy clubs around the peninsula. “Lisa has been really good to me,” Habib says. Throughout high school, he says, he was known as the “stand up guy,” and didn’t know any one else his own age with the same motivation to grip mics and wax observational on stage. 

The reasonable tenor of conversation with Habib is kind of weird because I tend to think of stand-up comedians as messed-up individuals (in the best sense of the term). But here we have a young man who puts his double major in film and economics at UC Santa Cruz firmly at the top of his list of priorities. He’s got a girlfriend with whom “things are flowing well,” and who doesn’t mind that she makes regular appearances in Habib’s schtick, generally as part of stories highlighting his inability to set romantic scenes for her. He also gets a laugh out of his brothers, who find Habib’s venting about frustrating situations hilarious, and his dear old momma, who drove him all around town in the early days to get him to gigs. “My mom loves it when I make fun of her. I don’t know why – well, I think she likes the attention,” he smiles.

Wholesome as a glass of milk. Although, coming from Gunn High School, a competitive prep incubator in Palo Alto, the choice of stand up comedian as a career is a bit off the beaten path. “All my friends want to be doctors and lawyers, go to grad school or whatever.” But Habib can’t shake the pull of comedy “It’s my identity. Plus, I feel like I’m giving something to society.”

His general feel-good sunniness is appropriate, perhaps, for a Christmas gathering for people that don’t celebrate (or need a break from) Christmas. Kung Pao takes the old cliché of Jews eating at a Chinese restaurant over the holidays and puts a little sass on it: a lineup that this year includes creepy-cute Wendy Liebman, Vietnamese-Jewish Joe Nguyen, Habib, and Geduldig herself. A real nice place to take the fam if you’re ready for a break from “closed for the holidays” and canned expectations of world peace and fraternal love.

For Habib’s part, he’ll be following in the grand standup tradition of playing off the idiosyncrasies of his lovingly wacky life, which for him isn’t as easy as it sounds, really. “These things come so naturally to me that I don’t always see the funniness in it.” Kung Pao gives him a chance to play up the Jewish side of his routine, not something he usually focuses on. “I will say,” he says. “That it’s going to feel good to come back to my people.”

Kung Pao Kosher Comedy

Thurs/23 and Sun/26 dinner 5-6 p.m., comedy 6-7:30 p.m.

Fri/24-Sat/25 dinner 6-7 p.m., comedy 7-8:30 p.m.

All shows $42-62

New Asia Restaurant

772 Pacific, SF

(925) 275-9005

www.koshercomedy.com

The Performant: Child’s play

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The Mission gets a lot of ink these days for being a nexus of youthful, responsibility-free hipsterdom — but despite the skinny jeans and thick mustaches, the neighborhood still retains a surprisingly family-friendly vibe. For one, it’s still rife with community arts spaces, so it’s a good place for kids to get involved creatively: from Loco Bloco percussion classes, to brass band and capoeira courses at the Mission Cultural Center and Precita Eyes‘ lessons in mural installation.

Thanks in large part to the winter holidays, December is a great time to explore the youth arts scene as next wave performers strengthen their stage chops and strut their stuff and this last weekend played host to some of the best and brightest of these stage openings.

First up: the Community Music Center held their annual La Posarela at the Victoria Theatre. The production was a combination of Mexico’s traditional December plays, the posadas and pastorelas, which are both Catholic theatrical rites meant to re-enact the story of the birth of the baby Jesus. CMC’s starred members of its various classes and groups, including its children’s chorus, Latin vocal workshop, Coro del Pueblo, and Mission District young musicians programs.

In the flower of their youthitude: Revolutionary Nutcracker Sweetie plays Brava

Other youth openings included the Marsh Youth Theatre‘s relaunch of its now-perennial Siddhartha: The Bright Path and Krissy Keefer’s revamped Revolutionary Nutcracker Sweetie, which took the stage at the Brava Theater Center and was adapted for Dance Brigade’s various youth dance programs: beginning ballet was represented, as was hip-hop, belly dance, and taiko drumming.

A note on this last show: there’s something strangely inspiring about watching a group of determined girls wallop the heck out of a sturdy row of giant drums, fight off the annoying machinations of a pack of devious rats, overcome racial innuendo and classism, and dress up as jellyfish all in one production — and though pop culture references abounded throughout the production (party guests included Lady Gaga and the Jersey Shore kids), the delicate snowflake core of The Nutcracker did not melt under their onslaught. 

Like Waters for (hot) chocolate: the infamous film knave plays a holiday show at the Roxie. Photo by David Magnusson

But of course the Mission would not be the Mission if there weren’t holiday treats for big kids too, and John Waters’ appearance at the Roxie Theatre‘s 101st anniversary fundraiser was definitely one of those. After waxing rhapsodic about the possibility of receiving sticks and stones curated by artists such as Richard Serra, pulp fiction bookstore KAYO Books, and Alvin and the Chipmunks, he moved on to sharing his holiday wishlist of big ideas. This included opening a movie theater with gay and straight water fountains just to watch the fur fly, hosting an abortion film festival, going on a “Don’t Ask, Don’t Tell” USO Tour with Beth Ditto, Pee Wee Herman, and Iggy Pop, and having a nervous breakdown onstage.

As it was, no-one had a nervous breakdown at all — but here’s hoping at the very least Waters’ less comedic desire to see the Roxie thrive for another 101 years will be fulfilled.

Scott Hammel’s street treats

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One of the beauties of living in weirdo town is that the streets can always surprise you. The other day, I went out for a mushroom taco and came back with a bag of sparkly fabric from an artist collective’s yard sale on lower Divisadero. I’m sure something attractive will happen with that bag, but after subsequently stumbling into Scott Hammel‘s toy art show in Mini Bar (through Jan. 30), I can’t help but wonder: what would have happened if my plastic sack was instead a full trash bag of plastic kids toys, cigarette butts, and the odd syringe?

Besides the possibility of contagion, of course. But real talk, even in the heady first days of a blood-borne pathogen, I still wouldn’t have come up with stuff this cool. Hammel’s art looks like the productions of an adult Sid from Toy Story, if Sid had gotten fabulous and started doing LSD.

Plus, seasonal! The head of a retro plastic elf pokes unsettlingly from a gold wall sconse, teddy bears with guns drip from their ornament hooks and a wreath that I’d hang on my front door in a minute if it wouldn’t be covetously snatched by a fellow #24 bus-waiter-forer adorn Mini Bar’s back eyrie room like jars of rhinestone-speckled candy. Gleaming light fixtures made from orange prescription pill bottles and a Donald Duck diorama in which he inspects wide-eyed the drug paraphernalia around him. It’s all really colorful and delicious and freaky, love. 

 After picking up aforementioned trash bag ‘o’ fun on the corner of Jones and Eddy, the photographer-visual artist started to see the urban life cocktail in contained as a metaphor for his own strut through his TL home. “The first piece I created was titled “Living in the Tenderloin,” which featured a tiny hush puppy figurine snuggled in a nest of window glass, cigarette butts, and rusted beads, and nails,” says Hammel in our email exchange about the installation.

“The best describing word for my style and aesthetic would be brazen. This might have something to do with living in the Tenderloin, where being brazen can sometimes help shield me from the oddities of life here,” he confirms. The glue gun art he creates (that ranges from affordable detritus tree ornaments to less-so chaotic balls ‘o’ toy that drape strands of pearl to the floor below) “helps me find comfort and reliance in a pretty disturbingly creepy place.”

Which, y’know, is high praise for one’s own neighborhood — but it’s clear that Hammel has a soft spot for SF’s most maligned ‘hood. A stunning video clip called My Life in a Day he filmed tracks his own perspective whilst making his merry way through late awakenings, the SF Party store, and aesthetically motivated inspections of the random pieces of street beauty in the neighborhood, like a stand of orange flowers or particularly prettily-bedecked traffic sign. 

A nice affirmation of the reason why we all pay out our ass for housing in these parts: these streets give back in a big way.

 

“Exhibit by Scott Hammel”

Now through Jan. 30

Mini Bar

837 Divisadero, SF

(415) 525-3565

www.scotterpop.com

 

Forget “Deborah” — Debbie Gibson is back!

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Despite having had a nearly 25-year (and counting) career in show business, singer Debbie Gibson is still full of youthful energy and excitement when talking about recent projects and what she has planned for the future — perhaps that is due in part to the fact that she had her first hit single and taste of fame when she was only 16 years old. The ever-vivacious Gibson is particularly excited about taking part in a benefit concert and cabaret show tonight here in San Francisco, “One Night Only: A Shrektacular Holiday Celebration,” which will also feature the cast of Shrek currently at the Orpheum Theatre, and raises funds for the Richmond/Ermet AIDS Foundation.

“Pretty much if I’m available, I can’t say no to this organization,” says Gibson, who has always been heavily involved with helping charitable groups throughout her career. “I really enjoy these intimate shows with solo theater performers, and it’s kind of a perfect fit for me — obviously I bring my pop persona to the table, but at the same time I’m part of the theater community, so it makes perfect sense really.”

The ‘80s pop chanteuse, famous for her initial hits such as “Only In My Dreams,” “Out of the Blue,” and “Electric Youth,” was one of the few stars of that time and genre who wrote and arranged much of her own material, which led to her successful forays into Broadway productions, and eventually into acting for film.

Her recent appearance in the cult B-movie Mega Shark vs. Giant Octopus has also sparked a new run of interest for celluloid gigs, with Gibson happily looking forward to the release of a new SyFy Channel movie, Mega Python vs. Gatoroid, which finds her teamed with another singer and actress who once vied for the same airwaves and video times as she did back in the 1980s — none other than Tiffany.

[Mega Shark] was so bad it was good; this one is smart, kitschy, and campy, it’s sexy sci-fi horror, and it was so much fun to do,” enthuses Gibson. “The first one was done a lot on blue screen, and all that; for this one I was hanging from rope ladders, crawling in the swamp, and climbing buildings. It was actually quite an action movie in addition to being a sci fi movie. Throw in a little food fight between me and Tiffany and there you go!”

Gibson says that both actresses had fun playing on their supposed rivalry from their youth, and that they didn’t mind that some of the people behind the film may have had, er, some ulterior motives. “We were like, ‘what dirty old men at SyFy sat around [asking] how they could get Tiffany and Debbie Gibson to get whipped cream on each other?'”

Gibson is referencing a scene from the movie — which comes out next month — that was released early, showing a drawn-out, extended cat fight between the two involving smashed cake, wrestling in a river, and a hilarious reference to the title of one of their hit songs. At tonight’s special show, Gibson is planning on performing a new song, one she hopes will provide a new take on holiday tunes, and also on her supposedly squeaky clean image from her past. 

“I wrote it about a year ago, and it’s a kind of a modern ‘Santa Baby,’ a sexy, jazzy, original Christmas song. It’s tongue in cheek,  mocking myself, it’s called ‘The Naughty List’ — I’ve always been the good girl and I’d very much like to be on ‘The Naughty List’ for once!”

http://www.youtube.com/watch?v=qf8BoWKeHow&feature=related

Debbie Gibson
Mon/13, 8 p.m., $35-$65
Theatre 39, Pier 39, SF
(415) 273-1620
www.helpisontheway.org

The Noir in the War on Christmas: Noël Noir @ YBCA

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You have probably heard that the Smithsonian Institution’s National Portrait Gallery recently ejected from its premises David Wojnarowicz’s video installation, A Fire in My Belly. The work was part of the museum’s “Hide/Seek: Difference and Desire in American Portraiture,” reported to be the first major museum exhibition addressing gay and lesbian identity in the arts.

‘Tis the season, in other words, for another right-wing attack on a piece of artwork by a gay artist depicting Jesus. This one reportedly depicts Jesus at one point with ants crawling over him and is otherwise described in the museum’s catalog (not inaccurately) as “homoerotic.”

Seriously, where’s the sport in this? It’s like crucifying fish in a barrel. The real value for the Republican leadership and attendant blowhards is, of course, in the distraction all their righteous umbrage affords from the real obscenities well underway this holiday season. Yeah, merry fucking Christmas to you too.

To the extent this blatant act of censorship does call attention to the video piece by the late artist-activist Wojnarowicz (who died in 1992), it’s good to see it will be given pride of place tonight at Yerba Buena Center for the Arts’ alternative Christmas party cum fundraiser, Noël Noir. YBCA recently announced A Fire in My Belly will replace the previously slated midnight “surprise” movie, and play on continuous loop from 11 p.m. to 2 a.m.

Noël Noir

Fri/10, 9 p.m.-2 a.m., $25

Yerba Buena Center for the Arts

701 Mission, SF

www.noelnoir2010.com

 

 

SF Camerawork and YBCA do the right thing (Updated)

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Stop me if you think that you’ve heard this one before: a Washington DC art institution caves in to right wing politicians and conservative Christians calling for the removal of “controversial” work made by an openly gay artist.

No, I’m not talking about what happened with Robert Mapplethorpe more than two decades ago. In case you haven’t been following what’s turning into the biggest art news story of 2010, David Wojnarowicz’s video A Fire in My Belly was removed from the National Portrait Gallery’s exhibit “Hide/Seek: Difference and Desire in American Portraiture” on November 30th, after Smithsonian Secretary G. Wayne Clough bowed to pressure from Bill Donohue, President of the Catholic League, incoming House Speaker John Boehner, and Majority Leader Eric Cantor, who denounced the video as a form of, “hate speech.”

In response, the artist’s estate and the P.P.O.W. Gallery in New York have made Fire In My Belly available for exhibiton, and several museums and galleries across the country have started installing the video, along with other Wojnarowicz pieces. Two San Francisco institutions (that, incidentally, happen to be just down the street from each other) join the protest tomorrow.

The Queer Cultural Center and San Francisco Camerawork will screen the entire 13-minute version of Wojnarowicz’s piece at SF Camerawork’s gallery space at 7pm. The screening will be followed by a presentation on censorship and the arts by art historian Robert Atkins as well as a roundtable discussion with Ian Carter, Kim Anno and (via-Skype) “Hide/Seek” curator Jonathan Katz. Yerba Buena Center for the Arts will also show A Fire in My Belly from 11pm to 2am on a continuous loop as part of its Noel Noir party.

I’m still waiting to hear back from SFMOMA’s press office as to whether or not the museum has any plans to install and/or screen the video. In the meantime, Tyler Green’s ongoing coverage of the fiasco at Modern Art Notes continues to be indispensable.

UPDATED: SFMOMA is going to do the right thing too, in January. A publicist for the museum has just confirmed that it will hold a free screening of the full-length (30-min) version of A Fire In My Belly on Tuesday, Jan. 4 at 5:30 pm with a discussion afterward. Way to go!

DAVID WOJNAROWICZ: A FIRE IN MY BELLY

Friday, Dec 10

7pm, free

San Francisco Camerawork

657 Mission St, Second Floor

(415) 512-2020

http://www.sfcamerawork.org/events/index.php?view=monthly

11pm-2am, $20 general admission

YBCA

701 Mission St

(415) 978-2700

http://www.ybca.org/tickets/production/view.aspx?id=12312

 

“The Tempest” star Djimon Hounsou talks Shakespeare — and Mirren

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Beninese actor Djimon Hounsou has had an impressive career, appearing in a diverse range of projects and earning two Academy Award nominations (for 2002’s In America and 2006’s Blood Diamond). His latest film is Julie Taymor’s adaptation of William Shakespeare’s The Tempest, in which he plays “freckled monster” Caliban, the rightful heir to the island. I spoke to Hounsou about reinventing Shakespeare, finding sympathy for an antagonist, and sparring with Helen Mirren.

San Francisco Bay Guardian: What was your familiarity with The Tempest before you took on this role?

Djimon Hounsou: None. I had very little knowledge about Shakespeare — I’ve known about his work but to dive into his work, it’s a different story. I have tested for Julie Taymor for [her 1999 film version of] Titus Andronicus before, so that was my first recollection of working on Shakespeare. And that was it. So this time around, I was a little bit intimidated and certainly didn’t want to go the distance with it. But with a bit of trust and encouragement from my wife, I ended up going.

SFBG: What in particular attracted you to the character of Caliban?

DH: Probably his raw nature, his very primal nature of the island, his very passionate desire to get rid of Helen Mirren’s character, Prospera. And obviously the text, the layers of text.

SFBG: Do you see the character as a villain? How did you find sympathy for him?

DH: He’s definitely not a villain. He’s enduring everyone else’s dictatorship approach to the land that belonged to him. That land belonged to his mother and he was born on the island, so having Helen Mirren’s character, Prospera, come take possession and enslave me, was absolutely not acceptable. His rage was absolutely justified. His means and his desires are all absolutely humane and natural.

SFBG: There was obviously a lot of makeup involved in your portrayal of Caliban. How does that affect your performance?

DH: It affects it in a good way. Again, that’s part of the persona of the character. That is the character. So the makeup and the prosthetics and all of that, which again, was very difficult to stand in for four hours just to get the makeup applied. It was a test of your mood or your personality. But other than that, I think it enhanced the role.

SFBG: There’s also a lot of physicality involved. How physically demanding was it to play Caliban and what did you hope to capture with that physicality?

DH: It was physically difficult but I took some butoh lessons that really had more to do with the study of nature’s drama — I call it nature’s drama, life and death and all of the above. So I mean, the connection was quite vivid.

SFBG: Julie Taymor is known for these huge, spectacular productions. But what is it like working with her as an actor?

DH: She’s a director that’s hands-on and obviously lets you run with your imagination, and then she’s able to steer you to the right direction, certainly according to her vision. She has such a great understanding of Shakespeare’s world, and obviously that’s what we’re working on, so it’s a tremendous help.

SFBG: I also wanted to ask about working with Helen Mirren, because you have these dynamic scenes playing against one another.

DH: Yeah, it was wonderful. She’s extremely available as an actor. She’s very there, very giving and supportive as well. It was a beautiful experience.

SFBG: Julie Taymor is also known for putting a modern spin on the classics, and this is a reinvention of the story in some way. How do you think The Tempest will appeal to contemporary viewers who may not be familiar with the source material?

DH: I find Shakespeare to resonate through time, through generations. In that essence and having somebody with such a great passion for the work, Shakespeare’s work, like Julie Taymor. I hope people value it. It’s a human story.

SFBG: What was your tactic for approaching the Shakespearean language? Did you have to adapt to a certain way of speaking?

DH: Not for me. Not for Caliban. I hear people have a certain rhythm of speaking Shakespeare. I didn’t want to be concerned with the language necessarily. I wasn’t sold on a formatted way of approaching Shakespeare. I just went straight and it kind of works for Caliban. He only learned language not long ago. I don’t think that that applies to a character like that.

SFBG: Are there any particular Shakespearean roles you’d love to take on in the future?

DH: Maybe. Definitely it is a language in itself that has so much to offer. I think Othello is a great piece to do. There’s so many great pieces that Shakespeare has done, but as far as a colored person is concerned, to be doing Shakespeare, that’s probably the best Shakespeare to do. We’ll see.

The Tempest opens Fri/10 in Bay Area theaters.

The Performant: Jingle Balls

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Decking the halls with “The Oddman Family Christwanzaakah Spectacular” and “Balls to Balzac”

How many more ways are there to teach the true meaning of Christmas-Solstice-Chanukah-Kwanzaa now that Jim Carrey has been both the Grinch and Scrooge, dreidels come in rainbow colors, and Kwanzaa candles are available in soy wax? Well, you could start by teaching your children that everyday is like a holiday, and that the spirit of giving can permeate the entire year. That’s what the Oddmans do. And look at how multi-talented their precious little tykes are turning out. They sing, they dance, they play music, they translate the songs in ASL — some without the average number of limbs usually sported by working musicians (besides Rick Allen, that is). All the Oddman family wants is to spread a little multi-cultural holiday cheer around. In Hollywood. Right now. SHOW ME THE MONEY.


Of course the Oddmans aren’t the first family in the history of show business to hit upon the idea that perseverance in the face of physical adversity makes for good television. The forcibly-mutilated beggar children of the Middle Ages were assembled with a similar desire to tug the heartstrings and pursestrings of the general public. Gathering a group of discarded orphans together in a rock-solid backup band for star duo Johnny (Ryan Marchand) and La’ree (Whitney Thomas), who do in fact retain possession all their limbs and most of their mental faculties, is downright philanthropic in comparison. Or is it?

I definitely went into “The Oddman Family Christwanzaakah Spectacular” at the Exit Theatre with the more-or-less on the mark notion that it would be a weird evening. But I certainly didn’t anticipate the gleeful depths of depravity to which the characters stooped. In particular, Mother and Father (Sheena McIntyre and Matt Gunnison) whose creepily literal interpretation of the motto “give ‘til it hurts” and entrenched cultural myopia took what could have been just another attempt at holiday fruitcake to turn it into the most debauched food-for-thought of the season. Above all, teaching the valuable lesson of how when the ghouls of Christmas Present are coming for your kidneys, sometimes it’s better to give a little than a lot. 

Meanwhile, a neighborhood away, choreographer Amy Lewis presented a lecture at Cellspace entitled “Balls to Balzac: A Journey from Testicles to Women in the Bourbon Restoration” to a hardy breed braving the rain. She began by exploring the true true meaning of the word “balls” and why there were not as many other euphemisms used in its place as with other major players in the nether regions, then worked her way up to discussing the literary treatment that Balzac, the prolific author of The Human Comedy, gave to his female protagonists. What was most fascinating to me though was the topic she touched upon only briefly — the use of mapping techniques in choreography, a tool I admit I’d been hitherto ignorant of. Now that my interest is piqued, I only hope that Ms. Lewis will incorporate more examples and explanation of this very topic into her next public presentation.
 
The Oddman Family Christwanzaakah Spectacular
Through Dec 18
Exit Theatre
156 Eddy, SF
$20
(415) 673-3847
www.sffringe.org
www.guerillarep.org

Give the gift of fungal growth

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And yet, and yet… even after this weekend’s Fungus Fair and my ensuing blithe commentary, I am not quite ready to turn my mind to things unrelated to the mushroom. It’s a little like how I was with beards this summer. Luckily, ‘shrooms are multifarious, earthy, adorable, subversive-leaning, and utterly delicious! Or poisonous, sometimes. Below, my four favorite mushroom gift ideas for the season of buying things “for other people.”

Mushroom mini-farm, $19.50 (photo above)

I actually got this for my boyfriend’s birthday and hid it so poorly that he immediately found it. Luckily, as it hadn’t sprouted yet, he thought it was a foul, mold-covered loaf of bread. Perhaps it is testament to our relationship that he didn’t hurl it into the trash bin, but instead set it out on the kitchen counter for my perusal. No, love, it is not bread – but leave it uncovered and soon this pre-germinated lump of … something… will sprout up to one and a half pounds of delicious mushrooms cultivated by the folks at Far West Fungi, Monterey Bay’s primo mushroom farm. Available in shiitake or tree oyster mushroom. 

1 Ferry Building, SF; (415) 989-9090, www.farwestfungi.com

FUNGIfolio calendar, $7-12 sliding scale

Does your baby-baby love mushrooms and need a calendar? “I love mushrooms so I made this calendar,” says Ramona Hopkins, creator of the FUNGIfolio wall calendar. Perfect! Keep in mind that the Bay Area is home to a year-round bounty of fungal growth with this indie score. Bonus: Ramona will be hawking her wares at the sure-to-be-awesome East Bay Alternative Press Expo this weekend (Sat/11) – so if you’re feeling the need to wax mycologically, she’ll love to oblige. 

fungifolio.blogspot.com

Golden shiitake mushroom ring, $40

Gone are the days when the friendly ‘shroom was confined to the mediums of obvious backpack patches and fimo bead necklaces. Now you may announce your affliation to the basidiomycota phylum as befits you – in sheer class. Scope this wood-metal ring from local Bay jeweler J. Fein – a plump shiitake to sit on your daintly uplifted pinky. Sipping tea while conversating with a loved one on voyages taken, perhaps?

Sold in various Bay Area locations, www.etsy.com/people/jfeindesigns  

All That the Rain Promises and More, $17.99

Oh yes. OH YES. You know you’re not supposed to be heading out on your own, picking up any bulbous what’s-it that you find – that’s how you hurt your liver! In fact, you should probably check out one of the area’s beginner’s mushrooming forays before you hit the duff. But for the armchair mushroom hunter, or anyone who’d like a handy guide of the area’s yummy and yucky fungi friends, California crazy man David Arora’s guide to over 200 species should do nicely. Look at this guy on his book’s cover: he’s trucking around with a loose-cannon grin in a tux, a trumpet, and the biggest damn chanterelle you’ve ever seen. Score!

Bay Area bookstores, www.davidarora.com

 

Live Shots: ‘Pilot Light’ at ODC Theater, 12/05/10

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The hardest part for me about watching dance is that if it’s really good, I want to start dancing too — and it bothers me that I have to stay cemented to my seat or risk embarrassment. This happened this weekend when I went to see Pilot Light at ODC Theater, a program 20 years in the making, that gives blossoming choreographers the chance to showcase their work in a professional theater. The evening’s program consisted of eight dance performances by six talented choreographers. I was awed by the variety of movement, costumes, and emotion, from utterly comical to positively serious.


Two choreographer’s work especially stuck with me. First, a piece choreographed by Amy Foley titled “Nearly/Known” really made me want to dance. The four dancers in their flowing dresses were stunning, their movements graceful and fluid. The piece consisted of three parts, each perfectly paired with beautiful music, including a piece by Yann Teirsen, whose music appeared in the film Amelie. The second piece I really loved was Charles Slender’s “Pretonically Oriented v.1.” This is the second time I’ve seen Slender’s work, and each time I’m struck by how unique and different his style of dance is. His dancers truly embrace his vision, releasing themselves physically, without any qualms in order to create both something that is beautiful and also slightly grotesque through their odd facial expressions. Each movement is precise and extended to that farthest possible point, and I find myself leaning forward in my seat, unblinking, wondering what in the world will happen next.

The whole evening was extremely interesting and enjoyable and I highly recommend you check out future Pilot Light performances if they return. Now, I’ve gotta go. I have to get my dancing shoes on!

Shroomin’ at the Fungus Fair

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All photos by Erik Anderson

“See, it’s starting to smell.” It’s day two of the Mycological Society of San Francisco‘s winter Fungus Fair at Berkeley’s Lawrence Hall of Science this weekend and the ‘shrooms are getting a little funky. MSSF member Peter Wegner is showing us around the caps and stems and he sounds a little apologetic for the earthy musk that has descended on us as we enter the fair’s specimen room. 

But he needn’t be – the sight of the room’s fungi, collected by society volunteers in the Bay Area over the past few days from 25 forage sites, more than makes up for any scent it emits. Not to mention the fair’s culinary offerings, educational bonanza, and the ‘shroom gnome hats so delicately worn by gung-ho clan members – this is the cardinal event of the country’s largest amateur mushroom society. 

Fungus Fair, I think I love you.

Wegner himself has been a MSSF member for eight years. His mushroom mania began on a trip to Italy, incensed by the delectable array of edible fungi that lined dinner tables in the area. He is now  happy to tell Fungus Fair newbies that his favorite mushroom is the black chanterelle (“they’re mysterious,” he says). 

Delicious meals are but one type of draw to the study of mycology – other members we spoke with yesterday expressed interest in the taxonomy of the fungi kingdom, in dyeing clothes from the mushroom’s natural pigment, and in the sheer camaraderie that’s inherent in finding roughly 800 others with an atypical attraction to fine fungal growth. 

“There’s a lot of mentoring that goes on,” says Norm Andresen, MSSF member and conductor of the society’s beginner’s forays into the wilds of McLaren Park and other damp corners of the Bay. A Brobdingnagian, white-haired man, Andresen towers above the tables of the specimen room, keeping his distance from a particularly pungent stand of growths as he answers questions on their providence, properties, and shelf life (“you probably wouldn’t want to eat any of these display ones, they’ve been getting touched by little kids all weekend.”)

In a lecture room a few halls down from Andresen’s post, a man introduced as “the best mushroom photographer in the world” by fair chair person J.R. Blair is playing the music video to his self-penned ode to the fungus among us, “Mushroom Fever.” On repeat. “Hopefully we don’t scare anybody away!” he announces blithely into his microphone as he readies his presentation on his recent mushroom-finding jaunt around the Americas.

Such is the intro to the glory that is Taylor Lockwood, who has achieved a near-godlike status in my eyes by having cobbled together a living off of traveling, digging around in the dirt, and hoisting himself up tree-supported ladders to get the best shot of aerially-inclined mysterious mushrooms. The man flips through a Power Point presentation of some of his best clips, which include squishy mushrooms (“good for the kids!”), fungi resembling tropical purple coral (“probably just convergent evolution”), and Brazilian ‘shrooms he captured on illicit night-time jaunts through a nature preserve.

Lockwood’s pitch for his calendars and assorted publications concluded, we wander past the sold-out mushroom soup kitchen and into the realm of Pat George, the society’s culinary chair. George, set up at at a table kitty-corner from an impressive display of psilocybin, is distributing recipes and information on the group’s regular potluck dinners. She explains that the events feature a carefully planned barrage of  the mushroom’s power to sate — mushroom ragus, mushroom desserts flavored by candy cap mushrooms (“cheesecake, biscotti, there’s all kinds of stuff you can make with a candy cap,” she ventures), even the rare bottle of mushroom beer. 

It’s all very tasty, as is the prospect of the MSSF’s other fare for the nascent mycological enthusiast. Beginners are welcome also to the group’s regular forays into the not-quite-wild for ‘shrooms, many of which are located here in the city for extreme accessibility. For the lazy, Far West Fungi has set up a stand in the vendor hall that stocks the farm’s “mini-farms” in oyster and shiitake — simply uncover the germinated logs and let the fungal growth loose in a shady corner of your bedroom. 

Why so much mushroom mania here in the Bay? The answer, says SF State mycology lecturer Thomas Jenkinson, who is stationed at the fair’s “Introduction to Mushrooms” booth, lies in the ubiquity of fungi throughout the year in our fair glens and dales. “The Bay Area’s a real center of mycology,” he tells me. San Francisco State is the site of the West Coast’s longest study of mycology, as well as what he calls “the most prolific mycology professors.”

And mushrooms lend themselves to a real community notion of life in our natural world. “Fungus is a whole other kingdom – we don’t think about it that much because it’s underground, but microscopic threads of it are just everywhere,” says Jenkinson. The ‘shrooms are getting real neighborly down there, due to these interconnected systems. “The concept of individuality that we have – they just don’t have that underground.” Lack of individuality: a trait hardly shared by the mycological aficionados of Fungus Fair.

 

Saint Gravy

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There is a certain faction of society — I think it’s pretty large, if you judge by NorCal standards — that regards Wavy Gravy as some sort of mystical deity from their parents’ generation. We’re not sure what he did, but you should probably address him as Mr. Gravy ’til he tells you not to.

This is a perception that is left unquibbled-with by director Michelle Esrick’s ten year labor of docu-love, Saint Misbehavin’: The Wavy Gravy Movie (opening Fri/3 in Bay Area theaters), and further untouched by my interview with Esrick and the man himself.

Saint Misbehavin’ opening scenes are an iteration of a tie-died holy man’s daily routine. We start out in Wavy’s corner bedroom, awash in sitting Buddha figurines, plastic Disney toys, beads, books, and other sacred objects. Wavy enters, and says a pray and a brief recitation of his heroes. 

This spoken list serves as a blueprint for the bio-pic to come: Jesus, Mohammed, Ghandi, MLK Jr., Jerry Garcia are among those name-dropped. They serve as a background compass for the movie’s neatly plotted trajectory of Wavy’s life: Gravy is born in New York, goes from folk-beatnik Greenwich Village, to acid be-ins with Kesey in California, to the Further Bus.

And then: a stint with the Hopi tribe, and later, off to the East: to Nepal to heal blindness (with the aide of his international medical non-profit Seva). Of course, his creation of Camp Winnarainbow, a summer camp that has been teaching West Coast flower children how to play for three generations now. Today, Wavy is an elder statesman of hippies and their descendents as well as a frozen dessert. His sold-out birthday spectaculars attract crowds like a Phish concert. 

A more recognizable Gravy. Photo Courtesy of Ripple Effect Films

But for our movie-viewing purposes those names at the start also essential because we don’t get to hear a whole lot about Wavy’s inner monolouge in the flick – he’s onstage here, clowning away as he does, well everywhere, not really dishing per se. Saint Misbehavin’ is no E! True Hollywood Story

So when I got the chance to sit face to face with the man (I wore a Ringling Brothers clown hat, he had on a blue bowler and carried his familiar fish on a leash), I thought maybe we’d talk a little about how he got so Gravy. “It’s not too many kids that grow up to be a seminal member of so many artistic scenes,” I say. “Washington Park in the early ’60s, SF during the ’60s, Woodstock… but what was special about Hugh Romney (that was his square name from before he was Wavy — even before his first nom de nonsense Al Dente), how’d you get to where you are today?”

Gravy, just a little sleepy-looking in the warm office building where our interview takes place, tells me “one thing just followed from another, listing off his general path across the world.” Such is the role of a tribe elder talking to a youngster: there are things that we are not to know. What more do we need to know, really? He quotes Thelonius Monk, a friend who stand-up comedian Hugh Romney opened for. “Everyone is a genius by just being themselves.”

That’s his deal: the rainbow he travels on is available to us all, if we can only see it and trust to it’s pretty suspended bands of color. Luckily, we do have Saint Misbehavin’ to get literal with. Esrick has put together a wild ride and the information it contains teaches about Wavy’s contributions to the hippie and anti-Vietnam war movement. He was on the front lines back then – Esrick tells me that the way he deals with the chronic pain he sustains from police beatings from those days is one of the most impressive things she learned about Wavy in the 10 years she spent researching for the film with him. 

I ask Wavy his reaction to seeing his epic life laid out on celluloid for thousands of strangers’ viewing pleasure. He refused to see early versions of the film when Esrick was still editing: what was it like to finally view the real thing? “You realize what a long strange trip it was – and continues to be,” he says after a moment’s pause. “It was the only time I’ve ever seen Wavy speechless,” Esrick smiles.

And so I leave our interview without really having gained any insider info on the life of Gravy. But I haven’t departed without a few gems, the primos being the story of meeting his wife (“she put peanuts in my hamburger and I fell in love,”) tips for graceful protests: “I always gave the best cop my rose. They were always very touched,” vegetarianism: “remember you are not what you eat, you are what you don’t shit,”and the truth about relations with the Middle East, spoken by a man who traveled through Iraq and Afghanistan on a rainbow bus in the 1970s: “They know the difference – there are ugly Americans that you see, and there are fellow travelers on the path of life. They recognized us as the latter.”

This from Michelle: “A full biography of Wavy’s would be 10 movies. I was interested in stringing a necklace of pearls together.” Maybe there are things we’re not supposed to know about those on high, or rather, that we don’t have to in order to know that they’re up there.

Epilogue: To gauge what maybe I am missing from the story of Wavy by virtue of not having been there in the glory days, I texted my mom today. “What did Wavy Gravy mean to you back in the day? Was he cool?” She wrote back “I don’t remember him!” Which of course, means she was really there. 

 

Saint Misbehavin’: The Wavy Gravy Movie opens Fri/3 in Bay Area theaters.  

 

One latte, art therapy on the side

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What will your art look like when you have trouble remembering your last painting — or offspring? On the week of next, you’ll be able to sip your Cafe International espresso and ponder the answer. In the cafe’s new art installation, one-third of the pieces on the walls will be by Alzheimer patients (Tues/7). 

What you can look forward to: “The pointillist and – let’s call it aboriginal flavor of some of the work can be seen as a common trait,” says Patricia Ris, co-curator of the exhibit. “Some artists will bend their vertical lines, and there seems to be a tendency toward some aspects of surrealism and superimposition. But I’m being very unscientific here.” 

Ris (a creative activities coordinator at an SF adult day care center) and gerontologist-theater artist Caitlin Morgan of the Alzheimer’s Association decided to bring attention to their innovative work with seniors by integrating their art into the Care International’s regular wall fare of professional etchers and sketchers. 

The pieces are created as part of a therapeutic program that allows patients to take their mind off of memory loss for a moment. With the help of an instructor, Alzheimer’s sufferers create vivid canvas evocations that can bring up elemental reactions in the viewer. In one, a red-headed woman holds a hand over her shocked face — a key indication at discomfort over what is coming out of her mouth.  

Morgan also runs weekend camps for these older folk that not only give caretakers a chance to have a 24-hour period to focus on their own lives, but also give the Alzheimer’s patients a chance to try some new things. A recent NPR piece on her work highlighted Morgan’s focus on letting patients do what they feel needs to be done – telling a grandmother who insists she’s late for school that there’s no classes that day, or letting an elderly ex-carpenter work at a chair leg for the better part of an hour with invisible tools. It’s all a part of “reading between the lines,” fostering that interior mind that can seem to be in jeopardy for many people, but that is often just struggling to adjust to a new world. 

“Having worked with many Alzheimer’s patients who have lost their word-finding ability, I have seen firsthand, over and over, that art is a way for them to express what words no longer can,” says Morgan, who first came into contact with senior citizen patients while she was performing with a traveling theater troupe. She says that art can be a method of alleviating frustration for those that can’t deal with early symptoms of the disease – as well as a way of describe the weird, wacky world that they are coming into contact with through their memory loss. “The connection between Alzheimer’s and art is one of necessity,” concludes Ris. 

Morgan says that the work of Alzheimer’s patients probably shouldn’t be judged by the same yardsticks as other coffee shop work, that it’s primary use is that of therapy for the artist themselves. But I can imagine sitting next to Maurice’s eerie bird-woman, or Patricia’s bouquet of impressionist flowers and reflecting on an entirely different breed of cleansing: that life — even in the midst of degenerative disease — will go on and on, and in color no less.

(From top to bottom, paintings by Tamara, Maurice, and Patricia)

“Painting from the Heart: Alzheimer’s Art”

Opening reception Tues/7 6-9:30 p.m., free

Cafe International

508 Haight, SF

(415) 867-4617

 

 

 

 

 

 

 

 

Sip Snack and Shop on Chestnut Street

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The Marina Merchants Association & The San Francisco Bay Guardian Present:

Sip Snack & Shop on Chestnut Street

Thursday, December 2nd from 6-9PM — Start your holiday shopping this season in the Marina, woo! There’ll be great deals and yummy treats all evening.

Ticket includes:
Tastings from over 20 restaurants and more than 25 beverage sponsors! Raffles & discounts of 15% or more at all participating businesses. Live Entertainment!


$30 Tickets available at http://sipsnackshop.eventbrite.com

Ticketed guests may pick up your wristbands, wine glass, and program guide at either of these locations on Dec. 2nd starting at 6PM:
Eastside West – 3154 Fillmore Street (at Greenwich)
Wells Fargo – 2197 Chestnut Street
Kelly Keiser Splendid Interiors – 2381 Chestnut St.

*All proceeds benefit the Marina Merchants Association.

Participating Businesses
The Animal Connection II | Arbonne International | Benefit | Bin 38 | Books Inc. | Circa | City Optix | Crunch Fitness | E’Angleo | Eastside West | eCosway | GAP | Heritage Row | Isa |J’s Galleria | Jack’s | Judy’s Café | Kara’s Cupcakes | Kelly Keiser Splendid Interiors | Marina & Kebab | Marine Layer | Mezes | Monkey on Chestnut | Pacific Catch | Paper Source | Patxi’s Chicago Pizza | The Plant | Pluto’s | Pottery Barn | Pure Beauty | Rabat | The Republic | Ristorante Parma | San Francisco Optics on Chestnut | SusieCakes | Toss Designs | Two Skirts | Wandering Vet | We Olive | Wells Fargo | Y&I Clothing Boutique

Sponsors
Artesa | Bear Flag | Black Star | Blue Moon | Brugal Rum | Chateau Potelle | DeLoach | Don Pilar | FIJI Water | Haamonii | Honest Tea | Hope & Grace | Hotel Del Sol | Long Meadow Ranch | M Squared | Magners | Millesime Cellars | Pale Moon | Peroni | Pretzel Crisps | Red Bull | Rock Sake | Solerno | Spring Mountain Vineyard | St. Supery | Svedka | Tres Agaves | Trumer | Vivid Bliss | Y. Rousseau

Partners
The Bachelors of San Francisco | Crawl SF | Marina Community Association | PinchIT | San Francisco Ballet | SF City Dish | Spinsters of San Francisco | Urbanis | Yelp

Entertainment
The Clef Divers | The Lollipop Guild, a San Francisco Gay Men’s Chorus ensemble | Marina Middle School Band

For a family-friendly affair on the next night check out Chestnuts on Chestnut: http://www.face

‘Infinite City’ maps out inexhaustible SF

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In the introduction to her thrilling new book, Rebecca Solnit provides the best explanation for why Infinite City: A San Francisco Atlas (University of California Press) can only be referred to as a San Francisco atlas, not the San Francisco atlas. “Every place is if not infinite then practically inexhaustible … any single map can depict only an arbitrary selection of the facts on its two-dimensional surface…”

What makes Solnit’s atlas appealing is the very arbitrary nature of the facts she chooses to have represented through a selection of 22 gorgeously rendered maps and a series of essays — many written and curated by guest collaborators with a particular interest in the storied intersection between geography and culture: poets, activists, archivists. From a map of “the names before the names,” an overview of the more than 100 indigenous tribes settled within the Bay Area circa 1769, to a map of the few remaining 6 a.m. bars which once catered to a large population of third-shift workers, to a map juxtaposing 2008’s tally of 99 murders within San Francisco proper with its flourishing population of Monterey cypress trees, the atlas reveals the truths simmering beneath the accepted fictions.

Or rather, a series of selective truths — for part of the joy of Infinite City is the infinite ways in which it can be read. The geo-politically inclined will want to take note of map #4: Right Wing of the Dove, which documents the locations of corporations such as Bechtel, military outposts such as Travis Air Force Base, and defense research laboratories such as Lawrence Livermore National Laboratory while maps for the Bay Area’s self-proclaimed foodie set include both map #7: Poison/Palate, and map #18: The World in a Cup, which details just a sampling of our many beloved coffee houses. Other maps include overviews of black history, butterfly habitats, queer spaces, Ellis act evictions… The subjects, like the possibilities, seem endless.

There’s even a map of San Francisco reimagined as a human head, accompanied by a tongue-in-cheek phrenological reading by novelist Paul La Farge.

It’s the map of Solnit’s internal San Francisco juxtaposed with that of performance artist Guillermo Gómez-Peña’s that comes closest to explaining the human compulsion to want to map out our known territories. In this particular map, both subjects define a series of unrelated places by defining who they are when they are there. From Rebecca: “In the Japanese Tea Garden I am always six years old; in the Sunset, I am almost Irish enough, but not San Franciscan enough; in the Excelsior, I am some chick from the Mission.” From Guillermo: “On the Golden Gate Bridge I still don’t feel suicidal; in Chinatown I am mistaken as a tourist from Spain or Argentina; In the Bollywood Café at 19th and Capp, I am the wrong kind of brown.”

As any of the greats of travel literature might point out, it’s tapping into our relationships with place that we are able to explore our relationships with others and ourselves more deeply. Infinite City offers a more than a few possibilities for each.

The Performant: Beats and Beuys – is anything sacred?

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Melting the masters with Oddball Films and Keith Hennessey

In a scene from the hilariously boffo short film Pull My Daisy an unruly gang of beatniks (Allen Ginsberg, Peter Orlovsky, and Gregory Corso) grill their pal’s invited guest, “The Bishop” (Richard Bellamy) about the relative holiness of the world around them, from baseball to cockroaches to the male organ. Is this-and-that holy, is such-and-such holy? they slur via Jack Kerouac’s partially-improvised narration. Their good-natured interrogation is doubtlessly modeled on Ginsberg’s “Footnote to Howl”—that affirmative litany asserting the holiness of cocks, typewriters, and “the bop apocalypse”. Throughout, their commitment to proving the divine in the human gives their tactless party-crashing a metaphysical justification and an almost wide-eyed innocence.

 The tiny screening room of Oddball Films, might seem at a casual glance to lack a direct conduit to heaven, but scouring the stacks one does find all manner of human concerns. Animated shorts, trailers, features, industrial, educational and other “ephemeral” flicks fill the warehouse-like space in leaning towers of film cans. During last Friday’s screening of beat and beat-themed films (Bongo Beatin’ Beatniks), metaphysics, innocence, and the meaning of art collided with the carnal, the craven, and the brazen, especially through a series of clips from “beat-sploitation” classics such as Beat Girl and the Bloody Brood. A touch of dada surfaced in the wonderfully bizarre Help, my Snowman’s Burning Down, and the earthly pleasure of music-making was encapsulated by jazz short Jammin’ the Blues. Tucked away on the second floor of a furniture warehouse on Capp Street, Oddball Films screens its collection of weird gems on a regular basis, and seems as good a place as any to spend time considering the archived intersection between flesh and spirit.  

Meanwhile, at a performance of Keith Hennessey’s “Crotch: all the Joseph Beuys references in the world cannot heal the pain…” the intersection between art and philosophy was humorously relayed via a quick lecture which began with Plato, Hegel, and Judith Butler, and ended somewhere around Arendt, Focault, and Wagner. Fortunately, you don’t win prestigious dance awards by spending all your stage time talking about Rudolf Steiner, so eventually Hennessey relented, took off his pants, and donned a “Scream” mask.

His body—squatting, hopping, attempting to stand on its head—asked that question which the mind has a hard time answering. Is this-and-that holy, is such-and-such holy? All joking aside, he removed the mask, helped his stage manager strike a part of his set, and nailed two boards together—a cross to bear—and balanced it on his head, slowly moving across the stage in tears. In a final act of acceptance, he barricaded his genitals behind a wall of lard, invited us onstage with him, and with needle and thread, sewed the visible scars on his body to the clothing of the three nearest audience members, covered himself in a rain of glitter, and inserted a set of misshapen Halloween teeth for good measure. In unison, we sang along to the Nirvana tune hypnotically playing in the background (“Something in the Way”), until almost without warning, the performer was gone—but the audience was still connected. Flesh and spirit.

Tofurky no! 3 veggie vittles for your day of thanks

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Hello vegetarians. I’m checking in for quick sec – are we braving the snarky Tofurky asides and dietary litigation with the extended fam well this year? I hopes. 

The holidays can be a trickily-navigated time for the meatless maverick – but they also present a sweet opportunity to show your loved ones that this whole rejection of the agro-business line can be both heart and belly-warming. Call it culinary evangelism if you must. Read on for some gems from the newest crop of vegan and vegetarian cookbooks that’ll have everyone at the table giving thanks.

 

Cranberry–cashew biryani 

From Isa Chandra Moskowitz’s Appetite For Reduction (Da Capo, 336 pages, $19.95)

Moskowitz is royalty in the vegan punk cupcake world, and her knack for the realm of savory snacks seems to have hit a nerve with her last popular release, Veganomicon. Appetite For Reduction (set for release Dec. 7) follows the same straight-forward format, this time focusing on vegan foods that are exceptionally good for the old waist line for all you double-time health nuts. This Indian-inflected rice dish will be the perfect substantial side to impress on your parents that you’ve learned to cook, suddenly, somehow. Throwing your own pilgrim party? Moskowitz’s excellent food blog, Post Punk Kitchen has a mega-recipe for vegan Thanksgiving in an hour. AN HOUR. Rock. For the purpose of this biriyani, by the way, cashew pieces equals roughly chopped nuts. 

Serves 4 

1 teaspoon vegetable oil

1 teaspoon cumin seeds

1 teaspoon mustard seeds

3 cloves garlic, minced

1 cup small-diced carrots

1 cup brown jasmine or basmati rice

1 teaspoon garam masala

1/4 teaspoon turmeric

1/4 teaspoon red pepper flakes

1/2 teaspoon salt

2-1/2 cups water

1 tablespoon tomato paste

1/4 cup dried cranberries

1/4 cup roasted cashew pieces

1/2 cup frozen peas

chopped fresh cilantro, for garnish (optional)

Preheat a 2-quart pot over medium heat. Pour the oil into the pot and mix in the cumin and mustard seeds. Cover the pot and let the seeds pop for about a minute, or until the popping slows down, mixing once. If the seeds don’t pop, turn up the heat a bit until they do.

Add the garlic and sauté for about a minute. Add the carrots, rice, garam masala, turmeric, red pepper flakes, and salt, and stir constantly for about a minute. Add the water and tomato paste. Cover and bring to a boil. Once boiling, lower the heat as low as it will go and cook, covered, for about 40 minutes.

After 40 minutes the water should be mostly absorbed. Stir in the cranberries, cashews, and peas. Cook for another 15 minutes or so, until the water is completely absorbed. Fluff the rice with a fork and serve topped with the cilantro, if using.

 

Shepard’s pie with chard-lentil filling and onion gravy

From Kim O’Donnel’s The Meat Lover’s Meatless Cookbook (Da Capo, 264 pages, $16.95)

A pie plate of power – even if the stuffing’s got pork and the carrots came into an unholy alliance with chicken stock, this shepard’s pie will be at the ready to guide you into fields of fullness at your family’s table. O’Donnel, a one-time writer for the Washington Post, has put together a satisfying bunch of recipes in this book, which empowers the reader to make cruelty-free concotions that mimic even the most traditional of comfort foods. The recipe bellow has got a lot going on, stove-top acreage requirement wise – O’Donnel recommends starting the lentils first, then working on the gravy while they simmer.

Serves 6

Wine-braised lentils

1 tablespoon vegetable oil

1/2 cup onion, diced

1/4 cup carrot, peeled and diced

1 sprig fresh thyme, or

1/2 teaspoon dried

1/2 cup dried brown or green lentils, rinsed (the smaller French lentilles du Puy, with a more refined texture, are my preference, but they’re not always available. Use what you can find in your local market.)

2 tablespoons red wine you enjoy drinking

3/4 to 1 cup water

1/4 to 1/2 teaspoon salt

In a small saucepan, heat the oil over medium heat and add the onion, carrot, and thyme. Cook for about 5 minutes, until slightly softened. Add the lentils and stir to coat. Add the red wine (if using) and bring to a lively simmer. The wine will reduce a bit. Add 3/4 cup of thewater, return to a lively simmer, then lower the heat, cover and cook until fork tender, about 40 minutes. Check and add a little extra water if need be, to keep the lentils from drying out completely. Stir in ¼ teaspoon of the salt, taste, and add the remaining salt, if needed.

Makes 11/2 cups. If you love these lentils, amounts may be doubled for a big pot that will keep for days and pair up seamlessly with your favorite grain.

 

Onion gravy

3 tablespoons butter

2 cups onions, sliced thinly into half-moons

1 or 2 sprigs fresh thyme

1 tablespoon balsamic vinegar

2 cups water

1 tablespoon cornstarch dissolved in 1 tablespoon water

1/2 teaspoon salt

Pinch of sugar

1 teaspoon soy sauce

In a deep skillet, melt the butter over medium heat and add the onions and thyme. With tongs, toss to coat the onions with the butter and cook over medium-low heat, until softened, reduced, and jamlike, about 25 minutes.

Add the balsamic vinegar, stir, and cook for an additional 5 minutes.

Add the water and bring to a lively simmer. Reduce by half, about 15 minutes. Stir in the cornstarch mixture and cook for an additional 5 minutes; the gravy will continue to reduce. Stir in the salt and sugar, and taste. Finish off with the soy sauce.

Turn off the heat, cover, and gently reheat at a simmer, just before serving with pie.

Makes approximately 11/2 cups

 

Shepard’s pie

1 cup wine-braised lentils

11/2 cups onion gravy 

2 pounds medium-size potatoes

(4 to 5 potatoes; my favorites are Yukon Gold or Yellow Finn), washed, trimmed/peeled as needed, and cut into quarters

2 teaspoons salt

3 cloves garlic, peeled but left whole

5 tablespoons olive oil

Ground black pepper

3 to 4 cups chard (from 1 bunch), washed, stemmed, and chopped finely into “ribbons”

1 clove garlic, chopped roughly

1/4 teaspoon freshly grated nutmeg

1/4 cup grated Parmigiano-Reggiano cheese

Grease a 9-inch pie plate.

Fill a medium-size saucepan with 4 cups of water, and add the potatoes and salt. The water should just barely cover the potatoes. This is important.

Cover and bring to a boil. Add the whole garlic. Return the lid and cook until fork tender, about 30 minutes.

Preheat the oven to 350°F.

With a slotted spoon or skimmer, transfer the potatoes and garlic to a large mixing bowl and mash with a hand masher. Stir in the reserved cooking liquid as necessary to moisten the potatoes. Add 3 tablespoons of the olive oil and stir in vigorously with a wooden spoon. Taste for salt, pepper, and texture and season and stir accordingly; mashed potatoes should be smooth and well seasoned.

In a large skillet, heat the remaining olive oil over medium heat and cook the chard with the chopped garlic, until wilted, 3 to 5 minutes, regularly tossing with tongs to cook evenly. Stir in the nutmeg and season with more salt to taste, if needed. Transfer to a medium-size bowl.

Portion out 1 cup of the lentils (the rest is cook’s treat) and stir into the chard until well combined.

Assemble the pie: Transfer the chard mixture to the greased pie plate. Top with the mashed potatoes, and with a rubber spatula,

smooth the mash so that it’s evenly distributed and completely covers the surface. Top off with grated Parmigiano-Reggiano.

Place the dish in the oven and heat through, 20 to 25 minutes. During the final 2 minutes of cooking, set the oven to the broil setting to brown the cheesy-mashed top.

Remove from the oven, slice into wedges, and eat hot with a ladleful of onion gravy.

 

 

Butternut squash and vanilla bean risotto

From Jenn Shagrin’s Veganize This! (Da Capo, 256 pages, $19)

True to its name, Veganize This! takes on the challenge of de-meatifying things that you never knew could be made animal-free (sea bass and beef ragu, anyone?) Sadly, this means it relies a lot on processed meat substitutes, but the end result of all the Mimicreme and soy products does tend to be delicious. The book includes an entire chapter on surviving the holidays, veganism intact — from whence sprang this recipe. Originally seen on Giada De Laurentiis’ Italian cooking show, this risotto is raring to go for Turkey Day. You gotta check out the book’s Jewish treats, too: vegan matzo ball soup and kugel! 

Serves 6

4 cups vegan vegetable broth

1 large vanilla bean

12 ounces butternut squash, peeled and cubed

3 tablespoons vegan margarine

3⁄4 cup onion, chopped finely

11⁄2 cups arborio rice

1⁄2 cup dry white wine

1⁄2 cup nut cheese (any flavor), grated finely, or 1⁄4 cup vegan parmesan blend plus 1⁄4 cup vegan mozzarella, grated finely

1⁄2 teaspoon salt

Cracked white peppercorns

2 tablespoons chives, chopped finely (for garnish)

Warm the vegetable broth in a saucepan over medium-high heat. Split the vanilla bean in half lengthwise, scrape out the seeds, and add, along with the empty bean pod, to the broth.

Bring to a simmer, then lower the heat to low. Add the squash to the simmering broth, and cook until desired tenderness, about 10 minutes. Remove the squash with a slotted spoon and set aside. Lower the heat to low and cover the pot.

While the broth is covered and simmering, take a large, heavy saucepan and melt 2 tablespoons of the margarine over medium heat. Add the onion and sauté until tender, about 3 minutes. Add the rice and stir well with the margarine.

Add the wine and simmer until it has almost completely evaporated, about 3 minutes. Add 1⁄2 cup of the simmering broth and stir until almost completely absorbed, about 2 minutes. Continue cooking the rice, adding the broth 1⁄2 cup at a time, stirring constantly. Allow each addition of the broth to absorb before adding the next, until the rice is tender but still firm to the bite and the mixture is creamy, about 20 minutes total.

Discard the vanilla bean pod. Turn off the heat. Gently stir in the butternut squash, cheese, the remaining tablespoon of margarine, and the salt.

Transfer the risotto to a serving bowl and sprinkle with chives. Serve!

 

Whip your hair back: Disney’s “Tangled” stars speak

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Walt Disney was right all along: dreams do come true. That is, if you’re Zachary Levi and Mandy Moore, and your dream is to be in an animated Disney movie. Levi and Moore star as Flynn and Rapunzel in Tangled, a fresh adaptation of the fairy tale about the princess with way too much hair. While Levi admits an affinity for Aladdin, Moore was always an Ariel fan.

“For our generation, I feel like that’s what every girl wanted to be,” Moore says. “What little girl doesn’t dream of being a Disney princess?” Both actors were also thrilled to be working with noted (and Academy Award-winning) Disney composer Alan Menken. Levi expressed a lifelong devotion to 1992’s Newsies, though he’s a fan of Menken’s other work as well.

“[Working with Alan Menken] is bucket list,” Levi says. “It’s crazy, crazy bucket list. We both grew up knowing and singing all the songs to Little Mermaid, Beauty and the Beast, Aladdin.”

Moore continues, “I just found out he did Little Shop of Horrors last night, and I about lost it.”

According to the actors, one of the strangest aspects of the voiceover experience was not working directly with co-stars. While Levi and Moore did collaborate on their duet, most of their acting was done separately and pieced together after they were finished.

“We never worked with each other at all on the movie, except for the duet,” Moore notes. “That is a total testament to the directors for cobbling these performances and creating the chemistry.” In some ways, that made things easier — especially for Moore, who admits to being shy.

“There was a whole session when it was like, ‘And now you’re running from the water that’s chasing you, and now you have to jump and leap and cry and eek,’” she recalls. “I was definitely sort of like, ‘Phew, I’m glad no one’s here to see me make a fool of myself.’”

Because Levi and Moore were somewhat removed from the filmmaking process, neither was sure what Tangled would look like as a finished product. Once they did get to see it in its entirety, they were pleased by how it all came together.

“I’m a dude,” Levi says. “I really liked all the action and the comedy. I loved [the supporting characters] Maximus and Pascal — they steal the movie.”

Moore enjoys the unique perspective voiceover work affords. “It was a treat to kind of feel like a real audience member and get to participate in watching the film unfold,” she explains.

These actors are genuinely excited about their work—and who can blame them as Disney fans? They’re also two people with vivid, Mouseketeer-approved imaginations, as evidenced when they were asked where Rapunzel and Flynn would be now.

“I feel like perhaps she would be doing something involved in the beauty world, since she has so much experience with hair,” Moore suggests. “Princess is sort of the ultimate job, but perhaps that’s just something she does on the side as a hobby.”

For reformed thief Flynn, Levi has something different in mind. “I think Flynn would be in security,” he says. “He would be helping companies learn how to safeguard their goods. He’d be that guy who goes and intentionally breaks into a place and says, ‘This is what your problems are.’”

Tangled opens Wed/24 in Bay Area theaters.