Berkeley

Art Listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For more art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through Sun/19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10 ($27.50 for "Tutankhamun"), $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Art and Power in the Central African Savannah." Survey show. Through Oct 11, 2009. "Towards Abstraction: Photographs and Photograms." Survey show. Through Nov 15. "Tutankhamun and the Golden Age of the Pharoahs." The return of the boy king. Through March 28, 2010. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Survey show. Through Sept 6. "John Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and His Family Foundation." Retrospective exhibition. Through Nov 8.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Matisse and Beyond: The Painting and Sculpture Collection." Museum survey. Through Nov 8. "Paul Klee: Social Creatures." Early line drawings by the artist. Through Nov 8. "Richard Avedon: Photographs 1946-2004." Show dedicated to the iconic photographer. Through Nov 29. "Between Art and Life: The Contemporary Painting and Sculpure Collection." Museum survey. Through Jan 3, 2010. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Wallworks." Exhibition of local, regional, and international artists, curated by Betti-Sue Hertz. Sat/18 through Oct. 25.


BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27. *

Art Listings

0

Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For more art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.


BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27.

Beyonce bounce

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a&eletters@sfbg.com

SONIC REDUCER Fierce. Bad. Doth Beyonce Knowles and Michael Jackson protest too much? More than two decades separated them, along with crucial biographical details, gender, and a kind of comfort in one’s skin. Yet both drink deeply from the same well of R&B pop perfection, after emerging, solo, from the safety and suffocation of the family-like combo. Both faintly evoke Jackson’s go-to mom for Prince, Paris, and Prince II (a.k.a. Blanket), Diana Ross. Both walk that tightrope of personal vulnerability and arena-friendly theater, the real and the fantastic, artful display and emotional artifice. Both have been philanthropists, ready with a vision to heal the world, and armed with a staunch commitment to spectacle and an iron will (to entertain) encased in a sparkly or titanium robot glove.

But entertain a morbid thought: if Knowles were to crash and burn her Thierry Mugler motorcycle breastplate during her current "I Am … Tour" — said to out-razzle-dazzle all predecessors with its aerial flips and 70-some costumes — would she be revered like Jackson? She’s made her share of great, timely, and timeless singles: "Crazy in Love," "Baby Boy," "Irreplaceable." And you can easily hear Mikey within the tender whisper-to-a-scream "If I Were a Boy." But Knowles’ bifurcated self unsettles on I Am … Sasha Fierce (Sony/Music World, 2008), an album tidily separating in two, its ballads and bangers distributed between two discs, as if simuutf8g vinyl.

Sasha Fierce is a clear bid for album-like complexity, depth, and, gak, maturity. It leads with the earmarked-as-important slow dances and power ballads and disrupts the single-centered paradigm, making us wait for the champagne-bubbly, bustling "Single Ladies (Put a Ring on It)." Surprisingly old-school in its marriage-minded sentiments for a woman who makes a point of touring with an all-female band, the track hints at the cognitive dissonance that makes Michael Jackson studies so rich. Given time, Jackson might even have wanted to tweak his beauty to mimic Knowles’ healthy naturalism, rivaled only by Rihanna’s as current pop’s beauty standard.

Sasha Fierce succeeds as a long listen, settling in likeably and ingratiatingly despite irritants like "Ave Maria" and "Video Phone," which recall the ways in which B’Day (Columbia/Music World, 2006) blustered and annoyed. Its crafty, minimalist sections hint at moments spent listening to electro remixes and MIA. As with MJ, it’s tough to separate the dancer from the dance: I can’t help but hear Beyonce singing to Jay-Z in her protests against being treated as less than one of the boys. Now declaring the "Death of Auto-Tune," he’s the talented shadow hanging over the production, another male counterpart to her executive producer and father, Matthew Knowles. Is it audacious to imagine her breaking from those intimate ties and finding her own Quincy Jones? To wonder if hipsters will be dancing to B’s songs — with nostalgia or irony or blissfully encumbered by neither — two decades from now as they do to Michael? I’m looking forward to the moment when Beyonce resolves her two B sides and merges the woman in the mirror with the woman making the music.

BEYONCE

Fri/10, 7:30 p.m., $19.75–$129.25

Oracle Arena

7000 Coliseum, Oakl.

www.livenation.com

———–

DEATH CAB FOR CUTIE DUSTS OFF ITS EXTRAS

I suspected Death Cab for Cutie had finally arrived while browsing the juniors’ department of Macy’s and being stopped in my tracks by the video playing on the TV monitors: it was "I Will Possess Your Heart," off Narrow Stairs (Barsuk/Atlantic, 2008), the combo’s first No. 1 album on the Billboard 200. Judging from the attention the music was getting from random tourists and untethered men, the group had found listeners beyond the indie rock mob. Now new — and old — fans can get another dose of the Narrow Stairs sessions with the release of The Open Door EP (Barsuk/Atlantic). The disc’s five songs "were kind of poking out, in a way, so we just cut them from the album," bassist Nick Harmer says by phone. "But it was part of the experience of where we’re at as a band. So we were always hoping we’d find a cool home for them." Death Cab expects to start working on its next full-length later this year — all a far cry from the moment Harmer, Ben Gibbard, Chris Walla, and the now-gone Nathan Good first practiced together. "You just know when that spark happens," Harmer recalls. "I remember we had a big debate about making a CD — it was a big deal for us to make 1,000 copies: ‘We’ll be sitting on these things for years….’"

DEATH CAB FOR CUTIE

With Andrew Bird, Ra Ra Riot

Sat/July 11, 6:30 p.m., $42.50

Greek Theatre

UC Berkeley campus, Berk

www.apeconcerts.com

Appetite: Punch for pirates, watermelon soup, orzo mac ‘n cheese, and more

0

Every week, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.

rickhouse0709a.jpg
Delish cocktails at Rickhouse. Photo by Virginia Miller.

NEW OPENINGS Around the Bay

Bourbon & Branch and Cask debut a second bar: Rickhouse
Opening night, July 1st, at Bourbon and Branch’s highly-anticipated second bar, Rickhouse in FiDi, named after a storehouse for aging bourbon. The space, including front and back bars, is gorgeous, with wood planks above and below, and a little balcony area with gentle skylight glow. The Old World feel transports – you can almost imagine you’re aboard a pirate vessel or in an old English tavern. The word was way out on opening night, making for a bit of chaos, but a kindly doorman (replete in cap and vest) regulated so we weren’t body-to-body, while staff and bartenders are cheerful and welcoming. And, oh, that menu! Pages and pages of classic cocktails, punches (punch bowl for four, please!), flips, fizzes, and some wines and draught beers for good measure. This is a cocktail lover’s dream bar and I, for one, am already plotting my next visit.
246 Kearny, SF.
415-398-2827
www.rickhousebar.com

FIVE, Scott Howard’s latest, opens this week in Berkeley
We’ve been missing Scott Howard since his namesake restaurant closed, but he’s debuting Five this week in beautifully remodeled Hotel Shattuck, an elegant, modern space with oval, limestone bar, white pillars and dramatic glass chandelier. The menu (ranging from $5-21 at lunch, $5-28 at dinner), lists playful dishes like Deviled ‘Surf & Turf’ Eggs with Dungeness crab and ham, or Orzo Mac ‘n Cheese with Morel mushrooms and tomato jam. There’s classic cocktails and plenty of onion rings with ginger ketchup. Scott is back!
2086 Allston Way, Berk.
510-845-7300

www.five-berkeley.com

Commis: Hints of molecular gastronomy on Piedmont Ave
JoJo, Oakland long-time classic, closed some months ago, and chef/owner, James Syhabout, moved in with Commis, unexpectedly soft-opening last week. There’s one option: a $49 three-course meal (from a handful of choices in each course), laden with hints of molecular gastronomy since Syhabout’s resume lists the likes of none other than Manresa, WD-50 and Coi. I hear tell of menu items like crisp pork jowl on a poached egg, chicken cooked in malted ale with golden rice, and strawberry watermelon soup for dessert. Sounds like it’s time to make a reservation.
3859 Piedmont Avenue, Oakl.
510-653-3902
www.commisrestaurant.com

Appetite: Punch for pirates, watermelon soup, orzo mac ‘n cheese, and more

0

Every week, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.

rickhouse0709a.jpg
Delish cocktails at Rickhouse. Photo by Virginia Miller.

NEW OPENINGS Around the Bay

Bourbon & Branch and Cask debut a second bar: Rickhouse
Opening night, July 1st, at Bourbon and Branch’s highly-anticipated second bar, Rickhouse in FiDi, named after a storehouse for aging bourbon. The space, including front and back bars, is gorgeous, with wood planks above and below, and a little balcony area with gentle skylight glow. The Old World feel transports – you can almost imagine you’re aboard a pirate vessel or in an old English tavern. The word was way out on opening night, making for a bit of chaos, but a kindly doorman (replete in cap and vest) regulated so we weren’t body-to-body, while staff and bartenders are cheerful and welcoming. And, oh, that menu! Pages and pages of classic cocktails, punches (punch bowl for four, please!), flips, fizzes, and some wines and draught beers for good measure. This is a cocktail lover’s dream bar and I, for one, am already plotting my next visit.
246 Kearny, SF.
415-398-2827
www.rickhousebar.com

FIVE, Scott Howard’s latest, opens this week in Berkeley
We’ve been missing Scott Howard since his namesake restaurant closed, but he’s debuting Five this week in beautifully remodeled Hotel Shattuck, an elegant, modern space with oval, limestone bar, white pillars and dramatic glass chandelier. The menu (ranging from $5-21 at lunch, $5-28 at dinner), lists playful dishes like Deviled ‘Surf & Turf’ Eggs with Dungeness crab and ham, or Orzo Mac ‘n Cheese with Morel mushrooms and tomato jam. There’s classic cocktails and plenty of onion rings with ginger ketchup. Scott is back!
2086 Allston Way, Berk.
510-845-7300

www.five-berkeley.com

Commis: Hints of molecular gastronomy on Piedmont Ave
JoJo, Oakland long-time classic, closed some months ago, and chef/owner, James Syhabout, moved in with Commis, unexpectedly soft-opening last week. There’s one option: a $49 three-course meal (from a handful of choices in each course), laden with hints of molecular gastronomy since Syhabout’s resume lists the likes of none other than Manresa, WD-50 and Coi. I hear tell of menu items like crisp pork jowl on a poached egg, chicken cooked in malted ale with golden rice, and strawberry watermelon soup for dessert. Sounds like it’s time to make a reservation.
3859 Piedmont Avenue, Oakl.
510-653-3902
www.commisrestaurant.com

Wading in

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a&eletters@sfbg.com

Yeah, it’s a big one — "going boating" — for the working-class castaways in New Yorker Bob Glaudini’s 2007 Jack Goes Boating, a surprisingly poignant comedy now making a strong Bay Area debut at Berkeley’s Aurora Theatre. Who would propose such a thing lightly? The word even sounds funny, at least in the mouths of the three friends assembled in the scene — longstanding couple Clyde (Gabriel Marin) and Lucy (Amanda Duarte), and Clyde’s best friend and perennial bachelor Jack (Danny Wolohan). Their tongues trip unfamiliarly on the "t" like it was a pinky finger extending suddenly from their coffee hand.

The two relationships at the center of Jack Goes Boating — one very tentatively setting forth, the other possibly foundering after several years — make for less than smooth sailing, plot-wise, but a class act all around, especially as delivered by director Joy Carlin’s excellent ensemble. And yes, the aquatic metaphors are heavy in the mix, as Jack, with his friends’ encouragement, makes it his mission to finally woo and win a love of his own. That would be Connie (Beth Wilmurt), a mortician’s assistant and, presumably, boating enthusiast whom senior colleague Lucy and Clyde have helpfully pointed in Jack’s direction.

An aging, bashful, lifelong single guy turned dedicated stoner of the reggae-saturated "positive vibes" school, Jack’s vaguely embarrassing enthusiasm for Rastafarianism smacks of the quiet desperation of the well-meaning dork, especially as visually crowned by a budding nimbus of white-guy dreads. But it also points to a crucial motive in Jack’s fledgling love life, namely some sort of anchor of decency and solace in a sea of urban chaos and confusion, a context made palpable in the comically supple Wolohan’s charmingly perplexed, almost painful determination as Jack.

It’s clear early on that some sacrifice is in order. To make everything turn out right for Jack and Connie’s little borough romance, it behooves Jack to first learn how to swim (Clyde to the rescue: when he’s not driving a limo like coworker Jack, he’s a swimming instructor). Moreover, owing to a little misunderstanding on Connie’s part, Jack needs to learn how to cook (Clyde to the rescue again, this time by suggesting Jack study with an assistant pastry chef Clyde knows to have been lately and uncomfortably acquainted with his own dear Lucy). Clyde’s attempts to do good are themselves problematic, however, having at points a competing agenda of their own (conflicting motives Marin plays to superb effect), centered on the baggage he and Lucy (a feisty and sharp-witted match in Duarte’s terrific characterization) have accumulated over many years. In fact, as Jack slowly wades into the deep end of the pool, literally and figuratively, Clyde and Lucy’s increasingly obvious dirty laundry begins to look like unintentional warning flags.

But Jack perseveres. Not yet at the oars, he’s nonetheless set a firm course already. He’s on board for this love thing. And, according to Glaudini, it’s as much a matter of self-survival as self-sacrifice. His swimming lessons with Clyde inch him ever so gently toward the deep end of the pool. But in a sense he’s already there, surrounded by the vortex of urban stress and mayhem as well as his own whirling emotions, all of it manifest in the predatory competition of other men — more often than not reduced to synecdoche in the dialogue: an aggressive erection on the subway, a stray hand on an unsuspecting breast, a philandering cannoli — and his own explosive temper. It’s the dicey but also ennobling power of love that makes Jack and Connie (whose own neurotic complexity gets its full due in Wilmurt’s shrewdly unnerving yet sympathetic characterization) able to navigate these waters finally, rather than merely treading them in a self-induced fog of pot smoke or "positive vibes."

Veteran Bay Area actor-director Carlin guides this beautifully designed production with sure comic instincts, making for an enjoyable ride all the way. But she and her cast also know the play gathers much of its momentum from deeper, darker waters just below its romantic comedy surface.

JACK GOES BOATING

Through July 19

Wed-Sat, 8 p.m.; Sun, 2 and 7 p.m., $28-$50

Aurora Theatre, 2081 Addison, Berk.

(510) 843-4822, www.auroratheatre.org

Art listings

0

Art listings are compiled by Johnny Ray Huston.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through Sun/5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through Sat/4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through Tues/7. "Otl Aicher: Munchen 1972." Graphic design. Through Tues/7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through Tues/7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through Sun/5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through Sun/5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27. *

Art listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For complete art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through July 4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27. *

Berkeley’s budget success

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By Tim Redmond

Berkeley isn’t in the financial mess San Francisco is, and while you can’t compare the two cities at all — SF is a city and county, has far more people and much more demand for services — there are two telling points in today’s Chronicle story:`

While sales tax revenues have plummeted elsewhere, they’ve actually risen in Berkeley. (Union City, Albany and Alameda were the only others in Alameda county to see a year-to-year rise.)

The sales tax increase is due, in part, to the quirky nature of the Berkeley economy. The city has virtually no big-box retailers. Instead of shopping malls, the city has clusters of stores in various neighborhoods, Elmwood to Solano Avenue.

The result is that “during times of prosperity, we don’t grow that much,” said Kamlarz. “And during downturns, we don’t decline that much.”

In other words, a diversified economy of local small businesses is more sustainable and better in tough times than one based on big chains.

The other:

Of course, this couldn’t happen without city voters who continue to tax themselves at among the highest levels in the state. Libraries, fire stations and school measures all continue to get support.

You want good libraries, good schools and no fire-station closures? Be willing to pay for them.

Of course, this shouldn’t be seen as any sort of surprising news.

Sonic Reducer Overage I: Polly, Poirier, Tomine, Ade, and more

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By Kimberly Chun

Going out? Staying out? There’s so damn much out there – consider this Sonic Reducer Overage, the Wonder Years/Part I. Look for the sequel in the next day or two.

Poirier
Jump and shake it like the riddim possess ya. The man’s Caribbean and South Asian sonics keep it sweaty on his Soca Sound System EP. With Daedelus. Thurs/18, call for time and price. Mighty, 119 Utah, SF. (415) 626-7001. www.mighty119.com

Miike Snow
He has a nice chunky mohawk, but the Swede is “Still an Animal.” With Esser. Thurs/18, 10 p.m., $10-$12. Popscene, 330 Ritch, SF. www.popscene-sf.com

Seth and Adrian Tomine
Sacto native, onetime Berkeley resident, ex-zine maker, and now Optic Nerve graphic novelist and New Yorker illustrator Tomine returns to the scene of so many of his yarns, to talk about his Shortcomings and 32 Stories, now both out on paperback on the esteemed indie publisher Drawn and Quarterly. Seth – famed for his Palookaville comics – tags along for moral support (I kid because I love). Thurs/18, 7:30 p.m., free. Park Branch Library, 1833 Page, SF. (415) 863-8688. www.booksmith.com

Quickies

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FRI/19


The Lollipop Generation (G.B. Jones, Canada, 2008) To truly appreciate G.B. Jones’ decades-in-the-making solo follow-up to her 1991 queer punk classic collaboration with Bruce LaBruce No Skin Off My Ass, you probably have to be a fan of Doris Wishman. Jones is on record as a major admirer of the woman behind Bad Girls Go to Hell (1965) and the Chesty Morgan vehicle Double Agent 73 (1974), whose singular directorial style had no need for dramatic momentum, synced-up dialogue, or sensible camera angles. (In a scene with dialogue, Wishman was more likely to lavish close-ups on nearby furniture than on the humans involved.) Lollipop Generation skewers the lust for youth at the rotten core of pop culture through its look at a loose gang of candy-licking teen and preteen trick-turners and the suckers who would like to prey on them. The cast includes writer Mark Ewert and Calvin Johnson, but Vaginal Davis steals a sizeable portion of the movie by throwing her all into a molester role in a sequence that shifts back and forth between Super 8 and video. My favorite aspect of Lollipop Generation is Jones’ eye for funny or dirty signs or landmarks, from giant smiling balls on the sides of freeways to sites with double entendres for names. By placing what story there is within this framework, she creates her own world with no need for special effects. (Johnny Ray Huston) 10:45 p.m., Roxie.


Making the Boys (Crayton Robey, USA, 2008) Whether you adore it as a nostalgic, pre-HIV throwback or despise it for its self-loathing and slew of gay stereotypes, The Boys in the Band was revolutionary for its time as the first play to revolve around a homosexual circle of friends and to present an honest examination of the gay community. In director Crayton Robey’s compelling and insightful new documentary, Mart Crowley, the playwright of Boys, recounts his days rubbing shoulders with the Hollywood elite as a burgeoning screenwriter only to be cast aside after a failed Bette Davis pilot and a film deal fell through. New York theater proved to be his salvation as he struggled with perceived personal and professional failure as well as alcoholism. With nothing to lose, he bravely penned Boys, secured the producer from Edward Albee’s equally controversial Who’s Afraid of Virginia Woolf?, and released it off-Broadway on April 14, 1968 to commercial acclaim. Robey interviews both Broadway and Hollywood mainstays such as Albee, Terrence McNally, Robert Wagner, and Dominick Dunne, who reflect on the impact of Boys, for better and for worse, and its role in challenging mainstream opinions of homosexuality as a mental illness and in jumpstarting the gay rights movement. In the middle of the film, I started wishing Robey had interviewed more of the cast of Boys. After all, they were the ones who experienced the highs of being in an exciting and subversive new play as well as the lows of later being essentially blacklisted from Hollywood. Then it dawned on me that five of the nine original cast members of Boys have since died from AIDS. Ultimately though, their cause to validate the gay community’s presence in society is forever immortalized with the legacy of Boys, the play that Vincent Canby hailed "a landslide of truths." (Laura Swanbeck) 7 p.m., Victoria. Also Mon/22, 1 p.m., Castro.

SAT/20


Greek Pete (Andrew Haigh, U.K., 2009) A deadpan serving of real-life drama, this night-and-day portrait is a 21st-century update of Andy Warhol’s Flesh, the 1968 movie that made Joe Dallesandro a star. In Flesh, Dallesandro is a hustler named Joe in New York. Here, Peter Pittaros is an escort named Pete in London. In Flesh, we see Joe school comparatively naïve and weak street corner boys on the tricks of rough trade. Here, Pete is a responsible breadwinner in comparison to his drug-spun chicken boyfriend. Both Flesh‘s Joe and the title character of Greek Pete hang with trannies, though Candy Darling and Jackie Curtis are more camera-ready than Pete’s goth gal pals. But whereas a strange optimism radiates from Flesh, which is understandably too smitten with its charismatic star to knock the hustle, Greek Pete has a strong undertow of melancholy. Its sadness doesn’t stem from a moral tut-tut stance about whoring but from a sense of modern emptiness that haunts Pete whether he’s with friends, alone in his apartment, or watching footage of himself winning a competition that’s the male escort equivalent of Miss America. Well-shot and anchored by a performance that’s just deep and ordinary enough to remain compelling, Greek Pete isn’t just easy meat. (Huston) 10 p.m., Victoria. Also Tues/23, 2:30 p.m., Castro.

SUN/21


Training Rules (Dee Mosbacher and Fawn Yacker, USA, 2009) Homophobia in sports is, depressingly, still an enormous issue. But compared to the macho world of the NBA, you’d think that women’s college basketball would be a comparatively safe realm for queer players. In the case of Penn State, you’d be dead wrong. For 27 years, coach Rene Portland intimidated and harassed players who were lesbians — and those she thought might be lesbians, or who had lesbian friends. As players from past teams recall (often through tears), Portland was an outspoken homophobe who revoked scholarships as she pleased and made basketball a joyless pursuit for those she targeted. In 2006, former player Jennifer Harris, a star athlete and standout student, sued the school for discrimination. Though Harris can’t speak at length due to the terms of her settlement (and of course Portland, who resigned in 2007, did not agree to an interview), Training Rules is an eye-opening document, exposing not just the ugly truth about one coach, but a systemwide crisis that those in power (athletic directors, the NCAA) have been painfully slow to address. (Cheryl Eddy) 3:30 p.m., Castro

TUES/23


City of Borders (Yun Suh, USA, 2009) Forty-five minutes away from Middle Eastern "gay mecca" Tel Aviv lies Jerusalem, ancient religious center and, unfortunately, bastion of equally time-tested attitudes toward homosexuality. Many Tel Aviv gays don’t even see the point of living, let alone fighting for rights, in Jerusalem. Yet Jerusalem’s sole gay bar, Shushan, was one place where Jews and Muslims, Israelis and Palestinians, mingled as equals. Yun Suh’s documentary focuses on a few diverse patrons, plus Shushan’s owner Sa’ar Netanel, who became Jerusalem’s first openly gay elected official (as a city councilman) on the same day it elected its first ultraright Orthodox mayor. He endures routine death threats, Gay Pride parades attract violent protest, and the other principals here have their problems and flaws too: lesbian couple Samira and Ravit try to stay together despite major cultural differences; Palestinian youth Boddy fears he’ll eventually have to leave for his own safety; Adam, an Israeli activist since being queer-bashed, doesn’t see any ethnical conflict in building a house on occupied territory with his boyfriend. Borders is a vivid snapshot of a gay rights struggle that is still very much an uphill slog. (Dennis Harvey) 7 p.m., Roxie

Patrick, Age 1.5 (Ella Lemhagen, Sweden, 2008) Freshly settled in suburbia, gay couple Goran (Gustaf Skarsgard) and Sven (Torkel Petersson) are eager to adopt a child — or at least Goran is, with Sven reluctantly caving in. But when against the odds they’re informed a native-born boy is available, a misplaced bit of bureaucratic punctuation means they get not the 18-month-old toddler expected but 15-year-old Patrik (Tom Ljungman). He’s a foul-tempered foster home veteran who makes it clear he’s no happier cohabiting with two "homos" than they are with him. Nevertheless, they’re stuck with each other at least through the weekend, allowing a predictable mutual warming trend to course through Ella Lemhagen’s agreeable seriocomedy. While formulaic in concept, the film’s low-key charm and conviction earn emotions that might easily have felt sitcomishly pre-programmed. (Harvey) 7 p.m., Castro

JUNE 24


Prodigal Sons (Kimberly Reed, USA, 2008) When Kimberly Reed (who studied film at UC Berkeley and San Francisco State University) set out to make Prodigal Sons, she was probably pretty certain the doc would be deliberately self-focused. The film’s first act takes place in Helena, Mont., at Reed’s 20-year high school reunion — amid former classmates who remember Kimberly Reed as Paul McKerrow, a football star who was voted "Most Likely to Succeed" (and, indeed, a success she has been; though she alludes to a difficult period during her transition, she’s clearly arrived at a happy and confident place in life). But Prodigal Sons is plural for a reason, and not because of brother Todd (who happens to be gay). Instead, it’s adopted brother Marc — who is given to terrifying rages as a result of a personality-altering brain injury; remains eternally resentful of Kimberly’s high school-era smarts and popularity; and (as is shockingly discovered) the grandchild of Orson Welles and Rita Hayworth — who becomes Prodigal Sons’ focus. He is the most heartbreaking figure in an intimately personal (sometimes uncomfortably so) film that’s ultimately about identities lost and found. (Eddy) 7:30 p.m., Castro

JUNE 27


Off and Running (Nicole Opper, USA, 2009) Teenager Avery, an African American, was adopted as an infant by a single white mom, who soon afterward meets another single white mom who had recently adopted an African American baby boy. Before long, a family (nicknamed "the United Nations," especially after a Korean child joins the mix) was formed. A track star who dreams of running in college, Avery loves her moms, but she’s curious about her biological parents. She knows she’s from Texas and was originally called Mycole Antwonisha, facts that hint at a cultural experience far removed from her upbringing as a Brooklyn Jew. After a few letters are exchanged with her birth mother, Avery is crushed when the woman mysteriously ends communication. A profound identity crisis ensues. "It’s like something really traumatic happened to her, and nothing did," Avery’s caring if clueless adoptive mother says. But Off and Running suggests otherwise. The doc may not speak for every adopted child’s experience, but it’s eye-opening nonetheless, and is blessed with a subject who is sensitive and articulate even in her darkest moments. (Eddy) 2:15 p.m., Roxie

Pop Star on Ice (David Barba and James Pellerito, USA, 2009) Yay, Johnny Weir! If you don’t share my sentiments about the sassy, sparkly, outspoken (but not on-the-record out) figure skater, then you might want to skip this documentary, which was filmed over a two-year period and offers an up-close-and-personal (like, you see him in a tanning bed) look at the three-time national champ. Or maybe not, actually — haters might come around after realizing how hard he’s worked to achieve his ice-rink dreams, born after watching Oksana Baiul win Olympic gold on TV and learning to skate (at the ancient age of 12) on the frozen-over cornfield in his Pennsylvania backyard. Competition footage backs up claims by longtime coach Priscilla Hill (with whom he breaks up over the course of the film) and others of Weir’s extraordinary talents; backstage clips and off-the-cuff interviews establish the fact that he’s one of the sport’s most fun personalities, probably ever. Weir pouts, jokes, struts in a fashion show, speaks in a Russian accent, discusses his collection of furs, and lands quadruple jumps with ease. Gay or (ahem) nay, he’s clearly 100 percent comfortable with who he is. (Eddy) 11 a.m., Castro

Art listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For complete art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through July 4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

San Jose Institute of Contemporary Art 560 S First St, San Jose; (408) 283-8155, www.sjica.org. Tues-Wed, Fri, 10am-5pm; Thurs, 10am-8pm; Sat, noon-5pm. Free. "It’s Not Us, It’s You." Rejection-themed art. Through Sat/20.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27.

GALLERIES

ONGOING

Brian Gross Fine Art 49 Geary, fifth floor; 788-1050; Tues-Fri, 10:30am-5:30pm; Sat, 11am-5pm. "More Than Meets the Eye," metal collages by Tony Berlant. Through June 27.

Dolby Chadwick Gallery 210 Post, suite 5; 956-3560. "Suburban Birthday Party," new paintings by Douglas Schneider. Through June 27.

*Electric Works 130 8th St; 626-5496. Mon-Fri, 11am-6pm; Sat, 11am-5pm. "2012," slot machine by Enrique Chagoya. Through July 3.

Fraenkel Gallery 49 Geary, fourth floor; 981-2661. Call for hours. "A Survey: 1972-2006," photography by Bernd and Hilla Becher. Through July 3.

Gregory Lind Gallery 49 Geary; 296-9661. Call for hours. "Garden Ruin," new work by Bob Matthews. Through June 27.

Hosfelt Gallery 430 Clementina; 495-5454. Tues-Sat, 11am-5:30pm. "Cubic Drops," drawings and installation by Marco Maggi. Through June 27.

Italian Cultural Institute 425 Washington; 788-7142. Mon-Fri, 9am-5pm. "Giorgio Morandi: Works from the Estorick Collection," etchings and drawings. Through June 30.

Luggage Store 1007 Market; 255-5971. Call for hours. "Cultural Geometry," public art project by Rigo 23 and Fernando Cardoso. Ongoing.

Mark Wolfe Contemporary Art 49 Geary, second floor; 369-9404. Call for hours. Site-specific installation by James Sansing and paintings by Jared Walker. Through June 27.

Micaëla 49 Geary; 551-8118. Tues-Sat, 10:30am-5pm. "In Camera," photography by Douglass freed, Joshua Hershman, and Taliaferro Jones. Through June 27.

Modernism 685 Market; 541-0641. Tues-Sat, 10am-5:30pm. "The Murmur of the Innocents," work by Gottfried Helnwein. Through June 27.

*Oxenrose 448 Grove; 816-9530. Call for hours. "Nature’s Ladders," work by Tahiti Pehrson, sponsored by Arthur magazine. Through June 30.

Robert Koch Gallery 49 Geary, fifth floor; 421-0122. Tues-Sat, 10:30am-5:30pm. Photographs by Kenneth Josephson. Through June 27.

*Steven Wolf Fine Arts 49 Geary, suite 411; 263-3677. Tues-Sat, 11:30am-5:30pm. "You Feel Me?," work by Tim Sullivan. Through June 20.

*SFAC Gallery 401 Van Ness; 554-6080. Call for hours. "Trace Elements," group show curated by Meg Shiffler. Through July 3. *

Recession, renewal

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johnny@sfbg.com

REVIEW When it comes to the negative impact that economic recession has upon the art world, there are as many problems as missing dollars. Yet among contemporary artists, such times tend to skew various views back toward those whose work isn’t epically expensive to begin with, a development that can be welcome. Moreover, careful budgeting can inspire reflection rather than a mad dash to acquire the newest, most expensive, and trendiest work.

At least two significant survey shows in 2009 follow this impulse in search of revelation. Next month, SFMOMA is opening "Not New Work," for which artist-curator Vincent Fecteau has selected art owned but rarely-to-never shown by the museum. Currently, Berkeley Art Museum executive director Lawrence Rinder taps into his curatorial insight with "Galaxy: A Hundred or So Stars Visible in the Night Sky," a multifloor epic exhibition that reveals the breadth of that institution’s art collection, and allows elements of it to ricochet off of each other in provocative ways.

Rinder is no stranger to such huge undertakings, having curated an installment of the Whitney Biennial and also co-conceived the landmark 1995 queer art survey "In a Different Light," one of the Berkeley Art Museum’s largest undertakings and banner shows of the previous decade. With "Galaxy," Rinder’s playful and subtly lively sensibility might even use a recent contemporary BAM exhibition as a trampoline of sorts. Last year, the site played host to Trevor Paglen’s "The Other Night Sky," a present-day photographic installation that provocatively muses on literal presences up above. With "Galaxy," Paglen’s literal stars and spy satellites are traded for the metaphorical celestial brilliance of artwork by Rembrandt, Rousseau, Dürer, Klee, and Rubens. One of the exhibition’s strongest facets is its tremendous array of remarkable etchings and engravings. Blake’s 1825 With Dreams upon My Bed and Behold Now Behemoth Which I Made with Thee are pettily awesome — worth an afternoon worth’s of scrutiny on their own.

While this excavation of canonical treasures tiny and large might be a new endeavor for Rinder, whose focus has primarily been on contemporary art, his selections and their arrangement are designed to trigger unpredictable associations and make a case for some comparatively-undiscovered contemporary local artists, such as Todd Bura. Thus a 2008 ink-on paper piece by Ajit Chauhan — who recently had a terrific show in a small side gallery at the de Young — holds its own and takes on added resonance next to works by Bruce Conner and Barry McGee, who might or might not count as Chauhan’s kin. In Chauhan’s A Mid Summer Night’s Cream … and McGee’s Untitled (2008), patterns of lettering and faces metamorphose into one another. Conner is one of a handful of recurrent artistic presences within "Galaxy" — his reappearance a testimony to his strong but varying presence and his influence upon Bay Area art.

Louise Bourgeois is another signature personality within "Galaxy," an impish creative force that darts in and out of different eras, styles and materials without ever seeming out of place. Rinder’s curatorial freedom allows for elliptical echoes that span centuries and floors of the museum. Bullfighting stampedes into the show in two different galleries, via an 1815-16 etching by Goya and a 1986 geutf8 silver print by Zoe Leonard. Etchings of village life congregate on one wall, landscapes and seascapes occupy a different area, experiments with color join up in groups of three and four. There are wave-like rhythmic patterns to the shifts between large-scale and miniature pieces.

A great sense of detail or flair has been given to the matter of framing many of these works, and Rinder’s use of framing extends to the show itself, which begins and ends with metallic or kinetic sculptural works that evoke Peter Selz’s 1966 Berkeley Art Museum exhibition "Directions in Kinetic Sculpture," while making a case for the tactile today. "Galaxy" begins with spinning metal discs and white button of Harry Kramer’s 1966 Jorg’s Chair, and closes with Edward Krasinski’s well-titled 1964 Perpindiculars in Space and Vassilakis Takis’ 1962-63 Tableau magnetique. In between these, there is a sense of queer flirtation and enjoyable perversity, thanks to the Caravaggio-esque crotch-pointing of Guiovanni Caracciolo’s 1610 oil-on-canvas The Young Saint John in the Wilderness, the eerie singed fringes of David Dashiell’s Dionysian 1992 Study for Queer Mysterties, the deathly delicacy of D-L Alvarez’s 1992 "In a Different Light" contribution Shawl (a net made of hair that likely degrades or is at least altered each time it is shown or moved), and a 1947 foam breast by Marcel Duchamp which asks to be touched.

Associations aside, "Galaxy" also is remarkable simply for exposing works so powerful that they stand alone. Such is the case with a 1955 untitled painting by Clyfford Still that takes the visceral and mortal concerns of the show into its deepest sense of experience. Gazing at this work is like passing through a threshold of elemental muck. In Still’s colors, beauty and horror entwine.

GALAXY: A HUNDRED OR SO STARS VISIBLE TO THE NAKED EYE

Through Aug. 30

Berkeley Art Museum

2625 Durant, Berk

(510) 642-0808

www.bampfa.berkeley.edu

FAIR: Misquoting Sotomayor

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B3: It’s always helpful to read how FAIR analyzes how the mainstream media cover a major story. FAIR is the media advocacy organization Fairness and Accuracy in Reporting.

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Misquoting Sotomayor
Media let right-wing critics frame debate

At this point, the confirmation battle over Supreme Court nominee Sonia Sotomayor will hinge in part on whether the media want to fact-check her critics. So far, the press is largely failing.

Right-wing critics and politicians have been circulating comments Sotomayor made in 2001 at UC Berkeley. One quote has been replayed endlessly: “I would hope that a wise Latina woman with the richness of her experiences would more often than not reach a better conclusion than a white male who hasn’t lived that life.” (Sometimes the quote is replayed without the “I would hope that” qualifier–e.g., NBC Nightly News, 5/31/09.)

First things Faust

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Bay Area writer-director Mark Jackson has been rightly hailed for his original scripts, especially since the rollicking ingenuity of 2003’s The Death of Meyerhold. But his dialogue with established or classic plays has been just as intriguing to follow. Here, strict fidelity to the text has not always proved a recipe for success. Indeed, it was by tossing out the text completely that Yes, Yes to Moscow — created with Tilla Kratochwil, Sommer Ulrickson, and Beth Wilmurt and one of the best things to happen on any Bay Area stage in 2008 — managed to capture the essence of Chekhov’s Three Sisters to a degree most big-budget, straight-ahead productions could only envy. Then again, without changing a word, Jackson brilliantly exploited the kinetic value of Sophie Treadwell’s expressionist drama, Machinal, for last year’s memorable production with alma mater San Francisco State University. But more recently, cleaving restlessly to August Strindberg’s text of Miss Julie in an otherwise skillful production for Berkeley’s Aurora Theatre, Jackson teetered near heavy-handedness, the injection of directorial personality often butting heads with Strindberg’s tightly wound material rather than entering a productive discourse with it.

That is happily not the case in Jackson’s current effort: a sure, compact, and invigorating free-adaptation of Johann Wolfgang Goethe’s Faust, Part I produced, like Meyerhold, by Berkeley’s Shotgun Players. The "freely adapted" part is no doubt key to the success here, but that implies no reduction of the original. Although the text has been trimmed and jiggered greatly, Jackson’s version — alive and lively in rhyming verse — strikes a confident, highly effective balance between his own visually striking exegesis and a deep-seated fidelity to the poetical and dramatic spirit of Goethe’s glorious closet play.

Essaying the title role himself with considerable wit and panache, Jackson leads a winning cast in the kind of dynamic, precisely choreographed neoexpressionist production he has made a hallmark of his work. "In the beginning was the act!" is Faust’s eureka cry. But the director starts the action in a tense but humorous fit of inaction at the lip of the stage. There Faust, the arch but frustrated rationalist bent on bending nature to his will, vacillates in calling forth the spirit world, standing before a wall of thin metal-framed windows blacked out except for one square patch of moonlight, and bare but for a single glass of magic potion.

Frenetic, verbose, arrogant, and (nearly) fearless, Jackson’s Faust dances a tightrope line between jaded hero and willing fool with conjured devil and enabler Mephistopheles (played with a slippery sobriety and quiet menace by the solid Peter Ruocco) standing erect and a full head shorter by his side, all courteousness amid flashes of animal teeth.

The play centers on Faust’s tragic wooing (and ruining) of the beautiful maiden Gretchen (an exceptionally deft, completely mesmerizing Blythe Foster), whom Faust meets in that fair field after downing his magic potion. But Gretchen’s mother (in a suitably jagged but subtle portrait by Zehra Berkman) guards her daughter’s chastity with hawk-like concentration despite being wheelchair-bound, her sharpness accentuated by repeated appearance in profile.

Goethe’s Faust — so applicable to our historical moment-of-truth that in lesser hands any treatment is doomed to cliché — has the unparalleled Renaissance man embodying rational, post-Enlightenment humanity in a sobering confrontation with questions of good and evil. A forceful aspect of Jackson’s shrewd staging lies in never losing sight of this "embodied" tale. Certainly Faust is enchanted by his own words. After all, it’s through language — here, in particular, the paradigm of a masculine rationality subduing a feminized nature — that we not only define but bring into being the world we inhabit (notwithstanding Faust’s claim for "the act" as instigator). But amid the heightened speech, Jackson maintains a delightfully chilling carnality in the details. It echoes more remotely in the play’s eerie final lines as well, when Mephistopheles, calling creation one big wash, must concede that for all its nothingness, "something seems to circle around." It’s messy, and it bothers him. "I should prefer eternal emptiness," he says.

FAUST, PART 1

Through June 28

Thurs.–Sat., 8 p.m.; Sun., 5 p.m., $22–$30

Ashby Stage, 1901 Ashby, Berk.

(510) 841-6500

www.shotgunplayers.org

Shadowboxing

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a&eletters@sfbg.com

"Explosive action" may be the stuff of soppy pullquotes, but the term takes on fresh life watching the 1950s noirs of Phil Karlson. All action movies give us men and violence, but Karlson’s pictures, to a rare degree, are about men living with violence. Punches aren’t redemptive, they just hurt — the one throwing them too. Take the clenched former prizefighter in 99 River Street (1953), Ernie Driscoll (played by Karlson’s preferred actor, the aggressively nondescript John Payne). "I’m so burned up, I take it out on everyone I see," Driscoll mutters to his loyal friend after tossing him against a car in the white heat of rage. When he finally does have reasonable cause, his maelstrom of punches exceeds the pleasure principle of vengeance by a wide margin.

If this sounds like Scorsese territory, it’s probably worth mentioning that Driscoll isn’t just a broken heavyweight — he also drives a taxi. Karlson’s movies are tightly-coiled enough to make the decades slip just like that: 99 River Street has enough weird transferences and reversals to make me wonder if it’s not a worm-hole to David Lynch’s films as well. The fabulous streaks of paranoia running through the PFA selections are Cold War to the core, but the films hurdle us so quickly and illogically towards the edge of abnegation that the reactionary myth of the vigilante isn’t given time to flourish.

Karlson recouped the debt owed by Dirty Harry and The French Connection (both 1971) with his 1973 hit, Walking Tall, but the ’50s films are more eloquent by far. In them, brutality is simply a fact, like cigarettes or hats. The most severe scenes are sometimes the quietest, as is the case when Eddie Rico (Richard Conte) has to wait out his brother’s death after unwittingly acting as a crime syndicate’s bloodhound in The Brothers Rico (1957, based on a story by Georges Simenon).

Other set-ups — nearly the entire second half of the remarkable semi-documentary The Phenix City Story (1955), cowritten by Daniel Mainwaring (1956’s Invasion of the Body Snatchers), with the same basic premise as Walking Tall — hardly give us room to breathe. The film’s corrupt Alabama police look the other way as local "vice peddlers" terrorize citizens, rig an election, and — remember this is 1955 — murder the children of a black man with reformist sympathies in broad daylight. The smug veneer of cordiality does nothing to disguise the constant threat of violence. To the contrary, it serves as an extra taunt, a superfluous flexing of power as enraging here as it is in Barbara Kopple’s documentary, Harlan County USA (1976). A trinity of resistance fighters (one of them a lawyer freshly returned from Nuremberg, an encounter with evil that still leaves him unprepared for Phenix City) can and do fight back, but resist administering the final coup de grace. They do so in deference to due process, but we’re long past a constitutional triumph, à la Young Mr. Lincoln (1939). The dark truth lurking just under The Phenix City Story‘s roiling surface is that the noble ideal these republicans embody may not actually exist.

TIGHT SPOT: PHIL KARLSON IN THE FIFTIES

June 5–26, $5.50–$9.50

Pacific Film Archive, 2575 Bancroft, Berk

(510) 642-5249, www.bampfa.berkeley.edu

Live Shots: Flight of the Conchords

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Text and photos by Ariel Soto

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I remember the first time I watched Flight of the Conchords on TV. I was at my friend’s house, people were drinking beer and a pet rat was running back and forth across the wood floor. The Conchords’ humor is weird, dry and their New Zealand accents just add to the hilarity. Now the band members, Bret McKenzie and Jemaine Clement, are beyond famous, with hordes of adoring fans, some of which were lucky enough to cram into the Berkeley Community Theater on Monday, May 25th, 2009, to see the last show of their US tour. Comedian Arj Barker started the evening off with some great laughs that covered everything from the weakness of Blue Shield’s health insurance to the exorbitant price of crossing the Golden Gate Bridge. Then, clad in ridiculous carboard and tinfoil space costumes, the Conchords started the concert with the iconic “Too Many Dicks on the Dance Floor” that had the audience in a state of hysteria. There’s something genuine about the Conchords’ lyrics like “Business Time” where they sing about getting it on once a week after sorting the recycling, to pieces that raise awareness about epileptic dogs. But then again, Bret and Jermaine are superstars now and every girl (and probably some dudes too) just couldn’t seem to take their eyes off the Conchords’ two sets of sugarlumps.

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Glittering prize

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johnny@sfbg.com

One shorthand description of Ramona Gonzalez’s recording project Nite Jewel is that it’s disco on quaaludes. I don’t know if I like Nite Jewel quite as much as Glass Candy’s underrated B/E/A/T/B/O/X (Italians Do It Better, 2007) — c’mon, they’re funnier than they are given credit for, and they made "Computer Love" melancholic, what’s not to love? — or if I love it more.

Throughout Good Evening (Gloriette, 2008) and Nite Jewel (Human Ear, 2008) Gonzalez’s singing is both high-pitched and kinda dazed. On "Weak 4 Me," she reminds me of Mr. Bill, which can never be a bad thing. "What Did He Say" is the best Nite Jewel song so far. It sounds like a radio playing "I Can’t Wait" by Nu Shooz slowly sinking to the bottom of a pool. I recently caught up with Gonzalez on the phone.

SFBG I hadn’t realized you’re from the Bay Area. How was Berkeley High? What did you like about the Bay Area and not like about it?

Ramona Gonzalez Berkeley High when I went there was transitioning between being out of hand and horrible and pretty much a normal school. Now it’s nice. Back when I went, it was not like that. There were 23 arson attempts when I was a sophomore.

Certain teachers I had there were some of the best ones I’ve ever had. As for the school itself — fuck, it’s hard for a kid to get along in a 2300 person student body. Lots of aggro annoying kids, popularity contests and danger, everyday. But overall it was rewarding.

SFBG How were your experiences in the Oakland Interfaith Youth Choir and the Berkeley Jazz School Music Ensemble?

RG Oakland Interfaith Youth Choir was pretty awesome. My friend Emily introduced me to it, because her dad was singing in the adult choir. The songs are incredible and really difficult — the girls in that choir were unbelievably talented. I wasn’t as good as them. Singing soprano in a chest voice — that’s crazy.

I did that for 2 years and then joined the Berkeley Jazz school, just taking piano. I ran into one of the girls from the Youth Choir there.

SFBG You’ve said Kevin Shields would be a dream artists to work with.

RG I got into my shoegaze period in college and started listening to Lilys whenever possible. Me and my friend Shane tried to start a fan club.

One of my favorite bands is Woo. Their It’s Cozy Inside (Independent Record Publishing, 1989) and Whichever Way You’re Going, You’re Going Wrong (no info available) might be the two albums I’ve listened to the most in my entire life. They’re these two brothers who are Hare Krishna who live in the UK. I recently found out where they are, and they wrote me back and we’re totally going to hang out when I go to England.

SFBG We have to talk Bruce Haack. What do you love about him?

RG Bruce Haack to me is psychedelic electronic music. It also has a playfulness, because he’s making music for kids. His music has this relaxing quality and aggressive quality at the same time. There’s a simplicity I like. I like his fervor and bitterness towards the music industry, especially on Haackula (Omni Recording, 2008). But the one I listen to most is Electric Luficer (Omni Recording, 2007). His music doesn’t have a direct correlation with Nite Jewel in terms of textures and sounds, but more in terms of what it means to be a punk electronic musician.

NITE JEWEL

With Telepathe, Hawnay Troof

June 12, 10 p.m., $10

Bottom of the Hill

133 17th St, SF

(415) 621-4455

www.bottomofthehill.com

Senses and sensibility

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"Constant self-negation and transformation are necessary if one is to avoid debilitation and continue to confront circumstances as a filmmaker," filmmaker Nagisa Oshima wrote in a 1961 essay. Oshima’s declaration of restlessness presages what would become a four decades-long career defined by that continual struggle to "confront circumstances" — to challenge postwar Japan’s stagnant social order by pushing filmmaking into new areas of form and content. "In the Realm of Oshima," the first major U.S. retrospective of the director’s work in more than 20 years, is a staggering reaffirmation of the now 77-year old director’s persistence of vision. Frequently hailed as Japan’s answer to Jean-Luc Godard, Oshima’s reputation and stature among a certain generation of cinephiles has often dwarfed the unavailability of all but a handful of his films (Oshima would later counter, saucily, that Mr. Godard should be known as the Oshima of France).

Like his French counterpart, Oshima’s output grazed on familiar genres, such as youth-gone-wild and domestic dramas, while freely incorporating elements from avant-garde and documentary practices. As much as he sought to break from what he saw as the sentimentalism of the previous generation of Japanese filmmakers like Yasujiro Ozu and Kenji Mizoguchi, Oshima also spent a great deal of time dissecting the struggles and failures of the radical left, as vertiginously condensed in the debates between disillusioned former comrades of Night and Fog in Japan (1960). But Oshima’s larger interest has been with, to borrow the title of Jim Jarmusch’s latest, the limits of control — and those who infract upon the social order. Fittingly, the series comes to a close with Oshima’s most extreme film, In the Realm of the Senses (1976), whose Sadean lovers, Sada and Kichi, are perhaps the most terrifyingly literal embodiment of Oshima’s quest for "constant self-negation."

IN THE REALM OF OSHIMA

May 29–July 18

Pacific Film Archive, 2575 Bancroft, Berk.

(510) 642-5249, www.bampfa.berkeley.edu

‘Nero’ sandwich

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Danny Scheie, from left, and Kasey Mahaffy appear in the world premiere of You, Nero. Photo by Henry DiRocco.

By Kimberly Chun

After its extended production of The Lieutenant of Inishmore and now You, Nero, Berkeley Rep is starting to feel like your one-stop spot for chuckle-inducing high jinks. The latest offering aims a little lower, and loftier, than Martin McDonagh’s allegorical gore fest centered on Northern Ireland’s Troubles: Pulitzer-nominated local playwright and Stanford artist-in-residence (and San Francisco Chronicle movie critic Mick LaSalle’s spouse) Amy Freed trains her focus on one of the more notorious rulers of all time, Nero, a pint-sized sociopath who occasionally threatens to overrun Berkeley Rep’s intimate Thrust Stage with his whimsical mayhem and murder.

Danny Schiele brings a crazy-eyed, strutting, tummy-first egotism to his role as Nero as theatrical patron – a perspective that brings to mind that other dictator who fancied himself an artist, Adolf Hitler. We approach the meglomaniac through the prismatic gaze of hack playwright Scribonious (Jeff McCarthy), hired by the emperor to stage a spectacle in tribute to his decadent, violent rule. The catch: politics in imperial court are hell. First Nero’s smothering mistress Poppaea (Susannah Schulman) then his lover-like mother Agrippina (Lori Larsen) must have their say, before the compromised courtiers weigh in with an agenda of their own. Gladiatorial acts of empty but deadly combat morph into an all-too-familiar form of idol worship – **American Idol** style.

Freed’s lampoon of contemporary entertainment tends toward the Borscht Belt, often coming off as broad and brassy as centurion armor, yet she succeeds in drawing cringe-edged laughs with the jokes ala Nero’s ebullient “Another ottoman from the Ottoman Empire!” It helps to have a cast as adept and likeable as this one, with players like Kasey Mahaffy standing out as the cross-dressing castrati Fabiolo.

YOU, NERO
Through June 28.
Tues., 8 p.m.; Wed., 7 p.m.; Thurs. and Sat., 2 and 8 p.m.; Sun., 2 and 7 p.m.; $13.50-$71
Berkeley Repertory Theatre
Thrust Stage, 2025 Addison, Berkeley
(510) 647-2949

Mark Morris Dance Group

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PREVIEW The year was 1988. Mark Morris and his intrepid dancers lived in Belgium. Not too happily. Morris and the good citizens of Brussels were not exactly a match made in heaven. Yet there they were: the Monnaie, the city’s gilded opera house; professionally-designed costumes and sets; a full orchestra and a chorus of 43-plus soloists. And, please let us not forget, there was also Milton, Handel, and Blake. No wonder Mark Morris and his 24 dancers threw themselves into a project that was bigger and more challenging than anything they had yet undertaken. Resources like that — including six rehearsals with the orchestra — Morris was never to have again after his return to the U.S. three years later. Yet the premiere of L’Allegro, il Penseroso ed il Moderato was not a success. Critics and audiences couldn’t warm to Morris’ version of modern dance. It didn’t look like dance. In the intervening years, this exquisitely danced oratorio has traveled around the world (not too often, because it is expensive to produce) and remains one of Morris’ supreme achievements. Morris, who is a stickler for respecting a composer’s intentions, did take a few liberties with the original. The Milton-Handel work considers whether happiness or melancholy is the better state to strive for. Milton and Handel voted for melancholy, Morris for happiness. Blake provided visual inspiration. L’Allegro returns to Berkeley for the fourth time. It is perhaps as a thank-you to Robert Cole, departing director of Cal Performances, who started bringing Morris to the Bay Area in 1987, when most of us still wondered, "Who is Mark Morris?"

MARK MORRIS DANCE GROUP Fri/29-Sat/30, 8 p.m.; Sun/31, 3 p.m., $36–$82. Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk. (510) 642-9988. www.calperfs.berkeley.edu

Black man in the cosmos

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AFRO-SURREAL "The Black Man in the Cosmos" wasn’t among the course offerings when I attended the University of California-Berkeley. The class was taught once, in 1971, by musician/composer Sun Ra (1914-93), whose lectures might include topics like the outer space origins of ancient Egypt, conceptualized as a black African culture. This cosmic tradition has a long history, particularly in Chicago, where Ra lived from the late 1940s through the early 1960s, and where Elijah Muhammad used it as the founding mythos of the Nation of Islam. Ra claimed to have influenced the NOI, though he rejected its conclusions, much as he would later criticize the Black Power movement he helped foster as too materialist.

Ra’s "Black Man" lectures — one of which recently surfaced on The Creator of the Universe (Transparency, 2007) — epitomize why he wasn’t taken seriously for so long. Critics who appreciated the severity of Ornette Coleman or the ferocity of Albert Ayler couldn’t accommodate the mischievous mysticism of a man who claimed to come from Saturn. Instead of playing the role of brooding artiste, Ra favored extravagant showmanship, cloaking ultimately stern spiritual messages in language as absurd as the science-fictional garb worn by his Arkestra. His strategies included Joycean deformations of words based on false etymologies and sound play. "Arkestra" itself characteristically mixes the spiritual (Ark of the Covenant) with the quotidian. According to John Szwed’s definitive 1998 biography, Space is the Place, this was how "orchestra" was pronounced in Ra’s native Birmingham, Ala.

Yet the strangeness of Ra’s music may have been the biggest stumbling block. His prodigious output is extremely diverse, continually vioutf8g unquestioned dichotomies. A product of the 1930s big band scene, when he led an orchestra under his terrestrial name Herman "Sonny" Blount, Ra was at the forefront of free jazz, yet he shocked fans and foes alike when, at its height, he began incorporating tight arrangements of swing classics by Fletcher Henderson, Ellington, and others into his sound.

Ra’s lifelong interest in synthesizers — there’s a photo of him with a primitive one in 1941(!) — developed into a command of pure sound. He adapted his style to the nuances of a particular keyboard. The 1970 recording Night of the Purple Moon (Atavistic, 2007), for instance, is a quartet disc on which he plays baroque runs on the Rocksichord, a 1960s electric harpsichord. The 1978 recording Disco 3000 (Art Yard, 2008), a live quartet performance, features Ra’s organ-like drones on the obscure, loop-enabled Crumar Mainman. Unlike some synth wizards, Ra was a virtuoso pianist, with a lightning-fast right hand and a left hand that seemingly bounced around of its own volition. While unafraid to mash the keys with his forearm, Ra’s ambidextrous precision and unorthodox chord voicings — he was unafraid to mash the keys with his forearm — place him among the top players of his time. If he’d worn a suit and stuck to piano, he’d be ranked with the likes of Art Tatum, as is evident from his previously-unreleased recital Solo Piano: Teatro la Fenice Venizia (Golden Years, 2003), possibly the best such recording.

Big bands remained Ra’s ideal, though they were giving way to smaller bop combos by the time he formed the Arkestra in the mid-’50s. Yet his insularity resulted in some of his most original works, discs that defy generic categories, like 1963’s reverb-drenched, proto-psychedelic Cosmic Tones for Mental Therapy (Evidence, 1992), 1965’s percussive, minimalist Heliocentric Worlds of Sun Ra, v. 1 (Esp, 2006), or 1967’s Strange Strings (Atavistic, 2007), on which the Arkestra, with no prior experience, plays various non-Western stringed instruments, accompanied by bells, tympani, sheet-metal lightning.

While the atonal Strings may be Ra’s least typical album, it embodies two of his main concerns. On the one hand, he was a tone colorist in the Romantic tradition, seeking unusual instrumentation to produce unique shades. But as that album’s untutored string section suggests, he was a highly conceptual composer — garnering attention from John Cage and others — known for arranging and conducting collective improvisation. Traditional/avant-garde, inside/outside: such oppositions didn’t exist for Ra, who even explored a "low" genre like disco on 1980’s tongue-in-cheek On Jupiter (Art Yard, 2008).

The bewildering amount of Sun Ra reissues stems from his habit of self-recording, which also dates from the 1940s. Had he not done so, albums like Strings and Cosmic Tones wouldn’t have been recorded. Nor would they have been released without his forming El Saturn Records, among the earliest artist-run labels. Given that his technological futurism seemed to stem from his preoccupation with outer space, Ra’s artistic achievements are perhaps inextricably bound to his cosmic consciousness. As with Prince, artistic activity was driven by extramusical concerns, which, if they result in an occasional lapse in "good taste," nonetheless are the ingredients that elevate Ra from artistic excellence to genius. This genius may not have given him more than a subsistence living, but it has made him immortal. Unless, of course, as an inhabitant of Saturn, he already was.

State of the movement

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news@sfbg.com

As local antiwar activists continue to oppose the Iraq and Afghanistan wars, they are struggling to mobilize popular support under a presidential administration that is less overtly bellicose than the Bush regime.

Antonia Juhasz, author of The Bush Agenda (William Morrow, 2006) and last year’s The Tyranny of Oil (William Morrow), has worked with a number of Bay Area antiwar groups. Over coffee in the Mission District, she said much has changed since President Barack Obama took office.

"It’s an amazing victory for the antiwar movement that we pushed people to elect a president who pledged to end the Iraq war. Now our job is to make that pledge a reality," she said, visibly tired from long work on a report about Chevron Corp.’s profiteering in Iraq and even at home in Richmond, where it’s sued the city to block a voter-approved tax increase.

Juhasz argues that all U.S. troops and contractors should leave Iraq immediately and that all bases be closed. But Obama’s plan includes a slower withdrawal timeline and for some U.S. forces to be left there indefinitely.

Medea Benjamin, cofounder of CodePink and Global Exchange, told the Guardian that Obama supporters need to realize that it’s fine to disagree with our first African American president on some policies. She described MoveOn.org, the prominent liberal organization that was a key player in Obama’s campaign, as "very top down," and focused on pro-Obama talking points. "It’s very hard because a lot of groups have become appendages to the administration."

Juhasz feels the antiwar movement needs to better communicate that "the organizing isn’t over when the campaign is over. Even if the leader agrees with you, they still need activists to push them."

But she acknowledges the difficulty of the task. "We want to keep from telling people they’re wrong. They won, which is great. But we need to say ‘You have the responsibility to keep organizing for the issues, not just the individual.’ It’s critically important to see beyond the leader, so it doesn’t become a cult of personality," she said, recalling that "under Franklin Delano Roosevelt, if there wasn’t a mass movement for revolutionary change, there wouldn’t have been a New Deal."

That kind of pressure is clearly not being exerted on Obama. Tom Gallagher, a San Francisco resident active with the Bernal Heights Democratic Club, told us during a March 21 San Francisco demonstration commemorating the sixth anniversary of the Iraq war, "If McCain had been elected there would be many more people here protesting. Obama is using the schedule Bush agreed to on pulling U.S. troops out of Iraq."

Gallagher grew more irked as he said, "Obama has sent 17,000 more troops to Afghanistan. He’s getting a pass on it, and McCain wouldn’t."

ANSWER (Act Now to Stop War and End Racism) has continued to agitate against war and for social justice. Richard Becker, ANSWER’s Western Regional Coordinator, told us the relatively low turnout on March 21 was not surprising.

Becker said he sees Obama’s popularity as "elation" over Bush’s exit. But no matter how bad the past or good the intentions of a candidate, once the candidate is elected U.S. president, he said, "the job description is CEO of the Empire." Becker cautioned that it will take time for postelection euphoria to wear off and for people to realize that wars in Iraq and Afghanistan are dragging on under Obama.

Local activist David Solnit, a mainstay of Direct Action to Stop the War, works with Courage to Resist, which supports military war resisters. The group also helps recruits fight "stop-loss," which sends soldiers back to Iraq for additional tours of duty without their consent. "Obama said he’s going to change it eventually, but we’re worried about right now," he said.

Courage to Resist organizer Sarah Lazare agrees with Solnit that peace activists should oppose U.S. military operations in Afghanistan. Lazare says it’s important to communicate that "Afghanistan is not a good war" and that "terrorism is a tactic" that cannot be destroyed militarily.

"Measuring the number of people at a demonstration is not the only way to measure what’s going on," she said. Among her examples of ongoing, dynamic organizing is the work of Courage to Resist and Iraq Vets Against the War.

IVAW is directly organizing active-duty members of the military to engage in dissent. SF Bay Area chapter member Peter Schlange told us that their ranks are growing as the Iraq war continues.

IVAW is also challenging the Afghanistan buildup. In a recently passed resolution, the antiwar veterans group "calls for the immediate and unconditional withdrawal of all occupying forces in Afghanistan and reparations for the Afghan people, and supports all troops and veterans working towards those ends."

Paul Kawika Martin, organizing and policy director for Peace Action, says his group wants all troops out of Iraq by 2010, with no "residual forces" or contractors left behind. Martin also says it’s important for activists to march and to lobby Congress. He stressed that both Martin Luther King Jr. and Ghandi lobbied for reform, and U.S. peace activists also need to do so.

Martin feels the peace movement will have an important impact on the new administration. "I don’t think he fears being too liberal," Marin told me. "But he wants to get things done, and like any politician he will be more pragmatic than we want him to be."

Martin said the troop escalation in Afghanistan was a concern for Peace Action. Martin is working with a group of 70 activists, think tanks, and aid workers who make up the Afghanistan Policy Working Group. He points to Reps. Raul Grijalva (now the co-chair of the House Progressive Caucus), Lynn Woolsey, Barbara Lee, and Maxine Waters as key allies of antiwar activists in Congress. "We need to support them," he told me.

The antiwar movement itself also needs support, given that many of its top activists have been arrested repeatedly in the last six years.

Organizer Stephanie Tang with the World Can’t Wait dismisses hope for Democrats as a trap. She pointed to Nancy Pelosi’s early knowledge of torture and Obama’s recent announcement that the administration would block release of torture photos in the courts. In March 2008, Tang was arrested for allegedly obstructing police at a Berkeley demonstration opposing a military recruiting center.

Walter Riley, Tang’s lawyer, told the Guardian: "It’s my contention they identified Stephanie as a leader and are vioutf8g her constitutional rights to protest an illegal war."

Berkeley police referred inquiries to the Alameda County District Attorney’s office, which had not returned our call at press time. Riley said a Berkeley policeman "blind-sided her," and, holding his club horizontally, slammed Tang off her feet.

Police later attempted to get a statement from Tang while she was receiving medical treatment for injuries sustained during the incident. Berkeley police only later charged her with obstructing police at the march. Tang faces one year in jail and a $1,000 fine.