March 30, 2007

If craft takes a liftime, what did Rimbaud practice?

I prefer the youger Tzara to the older
I prefer the younger Eluard to the older
etc. . .

When their communism invaded their content, was their craft also compromised?

For that matter, I think Ginsberg was at his apex with Kaddish.

March 30, 2007

via Dillon Westbrook:
useusage is seeking submissions for its inaugural issue: Building Prospects, which intends to create useful knowledge about the realities of construction, and our constructed reality. Details about the journal and its first issue follow below. The journal focuses on poetry and criticism on a new topic each issue. The journal is published on-line on a quarterly basis.
useusage is a praxis of consumption, but also of production- we help you s(h)i(f)t it all out. We know you’re working, you’re working very hard- everyone always seems to be. We’re here to share the load (poems with arms!). There’s a lot of information out there, let’s take a look together (poems with eyes!). Perhaps you can’t get all the news by yourself, but together we’ll stay on top of it (poems with ears!). We’re word workers, and we’ll a world unite.
We do poetry and we do criticism, but not criticism of poetry- that’s the next factory over. Our criticism is of “the world”, that scary place we encounter when we leave the factory each night. Criticism is a joint effort between our editor and reader volunteers. If you want to help with our critique, read over the list of future topics, and submit your resume of relevant experience for inclusion as a collaborator. If you have ideas for future topics, feel free to submit a proposal. Remember that we are trying to keep our topics useful- we are trying to help!- so include some explanation of why an essay on the topic you are proposing would be useful to our audience.

We welcome, with open arms, poetry for our current topic, and will select poems from up to 10 authors for each issue. We prefer fewer authors with more poems, but are interested only in poems by those authors that address our topic area. For each issue, we will publish a set of topic hints and ephemera, in the hopes of steering you aright. There are no style or genre guidelines. The words “experimental” or “avant-garde” will never appear outside of scare quotes in these guidelines. useusage is most interested in poems that do the work that needs doing in surprising or unlikely ways- we’d be equally surprised at a qualified villanelle as we would a qualified google poem. useusage will not discriminate against applicants for reason of historical tradition or poetic orientation- we are an equal-opportunity exploiter of resources.

-Submissions should be e-mailed (not accepting print) to:
-Submissions will be on-going until a workable stack is achieved. If your submission is accepted, you will be contacted by e-mail
- useusage editor will keep the e-mail of anyone whose work is not accepted and send out a courtesy notice to let you know that your work was not accepted and that its submission rights are once again free and clear.
- useusage is not interested in simultaneous or previously published submissions (useusage is slightly paranoid and too broke to afford a lawyer).
-Submissions preferred as word documents, though we will accept jpegs or pdfs if you want to maintain your layout strictly. These will open in the reader’s default pdf application. Future issues may include expanded media options.

Our first issue, Building Prospects, focuses on architecture and what Kojin Karatani called the “architectonic”- the way in which architecture becomes a structure of thought for the culture that lives through and in it. Very many of us spend the majority of our day in buildings, whether they are called “home” “office” “factory” or “school”, yet we rarely are called upon to reflect on their nature. Building Prospects looks both towards this nature and towards the future of our interactions with architecture. As such, we are paying particular attention to the idea of green building, what it means and what its effect will be on the rest of our consciousness. We are accepting poems touching on all or any of these areas until we have met our quota. The essay collaboration for this issue has already begun, but feel free to look towards future collaboration on these topics:

Sound Sorting
Healthy Ideas


March 28, 2007

I like the grit of Oakland a lot. It reminds me of my hometown Detroit quite a bit. In fact there are a good many apt comparisons that could be made: industrial centers with a dying core, a string of mayors who focus on downtown development rather than neighborhoods, inept public education, etc. . . .

But Oakland swaggers the underlying anger and desperation a little bit differently.

Maybe it's this subtle difference that convinces politicians that Oakland could be a "model city." Sure, Oakland is a political proving ground, but Oakland has born the brunt of far too many social experiments aiming to change the way we think about blighted cities. While well meaning, the results have often fallen so far flat as to illicit parody.


March 23, 2007

I forgot to mention this the other day. If you're in the Jack London area, you really should check out David Gentry's exhibition at Pro Arts. Gentry's sculptures blur the lines between industry and nature. I know, this is a pretty generic description, but this really is first show in a long while where I walked away thinking "hey, that was actually good." The exhibition runs March 16 - April 22 with the Artists' Reception, Friday, April 6, 6-8pm.



March 21, 2007

Things to do on:

Wednesday: San Francisco State Poetry Center:Meet the editors. 7:30 p.m.

Del Ray Cross (Shampoo); Eli Horowitz (McSweeney’s); Howard Junker (ZYZZYVA); Liz Lisle (Watchword); Michelle Richmond (Fiction Attic); Jason Snyder (Sidebrow); Chad Sweeney (Parthenon West Review); Eric Zassenhaus (Instant City).
Panel moderator: Jenny Pritchett (Fourteen Hills)

Friday: Small Press Traffic at CCA SF
Jack Kimball & Suzanne Stein

Saturday: at 21 Grand 8PM. $5-10.
Film: Michael Trigilio's, Thanks for Giving My Number Back
Written and directed by Bay Area multimedia artist, Michael Trigilio, Thanks for Giving My Number Back explores the thin lines between love and death, fantasy and reality, hope and helplessness. Equal parts self-portraiture and science fiction, the story folds itself into a tangle of giggles, heartache and fear.


March 20, 2007

Wang Tao, "On Reform." Sources of Chinese Tradition. Vol 2: From 1600-through the Twentieth Century (Columbia Univ, 2000): 251-4.

"I know that in a hundred years China will adopt all Western methods and excel in them. For though both are vessels, a sailboat differs in speed from a steamship; though both as vehicles, a horse-drawn carriage cannot cover the same distance as a locomotive train. Among weapons, the power of the bow and arrow, sword and spear, cannot be compared with that of firearms; and among firearms, the old types do not have the same effect as the new. Although, it be the same piece of work, there is a difference in the ease with which it can be done by machine and by human labor. When the new methods do not exist, people will not think of changes; but when there are new instruments, to copy them is certainly possible. Even if the Westerners should give no guidance, the Chinese must surely exert themselves to the utmost of their ingenuity and resources on these things" (252-3).

written ca. 1870.



March 18, 2007

Apparently, I made the cut. I'm on one of the mayor's many task forces.

If you care about & are from Oakland & have some free time, help Ron Dellums get reacquainted with the city he was born in. Your time can create a better city.

March 18, 2007

Overheard from the Shelter at the end of my block:

A: Hey Roy, can I help you spend that?

Roy: I'll let you know if I have any problems with that.

March 18, 2007

I dreamt that me & a group I was with were going into Canada (from the looks of it Manitoba) for an unknown purpose. Everyone but me had a visa in their passport. I began to panic, but then my dad showed up as a border guard and snuck me through. As I ran through a cut through the chain link to Canada I could see my dad get arrested. The newspaper I saw later ran his trial as the lead story. I ran through the streets of a city and made my way to a theater. I sat in the balcony up front. The play was by Carrot Top the comedian, and not very good. The scenes didn't link at all. The first scene was a pretty straight forward melodrama set-up, but the second scene had the actors playing hockey and being hoisted by strings so it looked something like the Harry Potter game. I was getting friendly with the woman next to me who was with her family. Then my unknown about until now girlfriend showed up at the scene pissed at me. She looked almost exactly like the girl I had been chatting up. Then one of the hockey player/actors jumped ito the balcony to tape a couple of 45 singles to the ceiling. On his way back to the stage, he told me to get out in a way that made me sense it was urgent. So I split. I ran and ran and ran as people do in running type dreams. I came upon a house convinced I was ahead of who/whatever was obviously following me. The house was a huge Victorian mansion. As I entered, I recognized immediately that it was a labyrinth house. What I didn't know was that it was a double labyrinth house with two sides being connected by 2 four storey labyrinths. I had just made it into the second labyrinth when I woke up to Weekend Edition on npr. I did poorly on the puzzle section.



Saint Patrick's Day, 2007

So spring break is upon me & just in time weather & burnoutwise & I've decided to knock off my office jobby-job for the duration, leaving me this midnight going through my half scribbled through notebooks and mounds of papers next to the typewriters deciding which of the myriad projects I've somehow managed to start and let drop that I will pay attention to over the course of the next nine days. Do I revisit the Jingletown project? stay focused on the Hills project? or just devote all my time to the Hundreds project which is in the editing phase, the most umpleasant phase by a factor of a million, but closest to done?

I also have the huge urge to rework my way through Wheelock's Latin Grammar as prep for a Virgil based summer project.

March 16, 2007

Listen to Chicago poets Dan Godston and Jennifer Karminon
on Wordslingers
This Sunday, March 18th from 8-9pmon
WLUW 88.7fm Chicago
Loyola University's community radio

Or listen live from the WLUW home page
or catch the Quest Radio webcast Wednesday at 8pm
or check out The Vox Cafe archiveon

DAN GODSTON teaches literature and composition atColumbia College and poetry and other art formsthrough several arts education organizations. Hispoetry and fiction have appeared in Chase Park,Versal, 580 Split, Kyoto Journal, CaliforniaQuarterly, after hours, Drunken Boat, and otherpublications. He also performs and composes music.

JENNIFER KARMIN is a poet, artist, and educator whohas experimented with language throughout the U.S. andJapan. Her multidisciplinary projects intersectwriting with sound and image. Currently at home inChicago, she is a founding member of the public artgroup Anti Gravity Surprise and co-curator of the RedRover reading series. In the fall of 2006, Jennifercollected writing about walking in cities and createdWALKING POEM. On October 25th 2006, she startedwalking from Chicago's Picasso statue and navigatedthe city using the collected writing as her map. Onceread outloud, each piece was given away to passingpedestrians. Jennifer works as a Poet-in-Residencefor the Chicago Public Schools and teaches creativewriting to immigrants at Truman College. Recentpublications include: The City Visible: Chicago Poetryfor the New Century, Growing Up Girl: An Anthology ofVoices from Marginalized Places, Bird Dog, and MilkMagazine.

"Wordslingers is always looking for new voices. If youknow someone whose work you like and respect, hip themup to the show and let them know it's damn near as easy as falling off a log to be on the air in 2008 andeasier still to submit poetry."


March 16, 2007

Oaklanders, if you haven't already, check out NovoMetro.


Ides of March, 2007

I have a learned, nearly Pavlovian, hatred for the rhetorical question in prose.

Let me qualify this statement by saying that most questions that are posed as rhetorical aren't, thereby failing at their rhetorical purpose.

Because I teach freshman comp, I see seemingly rhetorical questions used repeatedly in nearly all of the first batch of papers. Most of the questions posed in these papers would have been much more powerful if phrased as direct statements.

The rhetorical question is good rheotorically only when you've set the question up so that the reader/audience could only agree with you. You are not in fact posing a question, but rather allowing the reader/audience to reach the same conclusion that you have made obvious.

Trial lawyers make good use of this device:

The FBI confirms it was his fingerprints on the knife. The crime lab says that it was his DNA underneath the victim's fingernails. An eye witness at the scene of the crime identified the defendent from a line up. The video tape shows the murder taking place and has a shot of the defendent's face. Knowing this, who else could have killed him?

This is a rhetorical queston, as the conclusion is obvious and leads the reader to agree with whatever argument you are making.

Unfortunately, most of the questions I read in papers are weak transitions disguised as questions.

. . . What would Marx say about this? . . .

In whatever paragraph that this question could appear in, the student is trying to get to Marx's ideas on the subject. It's a weak transition from point A to B, where B is Marx's ideas. It also opens up other ideas. The reader is given free reign to come up with what she thinks might be Marx's responses. If the conclusions don't match, then the writer has shot herself in the foot rhetorically. Making a direct statement in this case would be more direct, forceful, assertive (any other adjective for good writing here).

Ex. . . . Marx would counter . . .
. . . Marx argues . . .

These constructions are on target and offer no straying from the argument at hand. The reader follows seamlesslessly what the author has to say.

Sometimes a rhetorical queston is just an excuse to give a defintion to frame a discussion. The best/worst example of this that I have on hand is John Elmo's first sentence in All About Walls: "What is a wall?"

Elmo doesn't want us to ponder the political/social/economic/ideological implications of walls. He wants to talk about interior design. By opening up the defintion of walls to the reader, we may form ideas & expectations that aren't answered in his prose, which makes the prose deficient.

Elmo immediately responds to his own question, letting us know that it wasn't a real question: "A wall is a boundary."

Yep, Elmo is a great anti-read.

March 14, 2007

The first actual poetry slam I ever attended was in Athens, Georgia. It was in a coffee shop's back room (Blue Sky?, yes Blue Sky) and the organizers gave everyone red and blue fly swaters to use as voting mechanisms. Matt Lusk did a first round improv bit that explained the rules but used chewing gum & his John Deere cap as props in the telling, hence disqualifying him from later rounds. Douglas Martin also performed, if I remember correctly. Douglas was always very good at gesturing: very tight, rehearsed, choreographed readings. I may be conflating readings, but I think this might also have been when the Scottish National Slam team rolled through town; at any rate, same reading or not, it was the same venue.


March 14, 2007


March 13, 2007

The smell of drying gesso is half as unpleasant as the turpentine my brush is currently sitting in. It seems all the smells in my house right now can be mathematically correlated to the other smells that are in competition for dominance. The fish in the sink is one tenth as strong as the week old, half-smoked cigar in my ashtray next to my typewriter, etc. . .

March 13, 2007

Another common reading practice that I am not hot about is actually saying out loud the numbers of the sections when reading a series. The numbers in a series always seemed to me to be more visual information that could just as easily be replaced on the page with a symbol to represent the break. To read "number four" out loud as if you were reading a title has the effect of disunifying the piece for me. I'd prefer a pause, jazz hands or other gesture, or just about anything else to represent the transition from one segment of a series to another. This falls into that area of visual information that could best be expressed differently/more effectively in an audio context.



March 11, 2007

Oaklanders, Mayor Ron Dellums is looking for folks to join his task forces.

March 11, 2007

Daphne Gottlieb is looking for a Bay Area sound artist to work with her on a short multi-media project.

March 11, 2007

David Orr of the New York Times slams poetry in The New Yorker and by extension Dana Goodyear in response for her calling the whole Ruth Lily/Poetry Foundation venture into question.


March 9, 2007

The Jam, "Town Called Malice," The Gift (1981).

This is one of the first songs that I cared about growing up that didn't bother all that much with a traditional rhyme scheme; when Mr. Weller does rhyme, it has a much more powerful effect than the usual ABCB rock songs I was listening to at the time (even though he reverts to it in the third stanza, Mr. Weller is no Paul Stanley here): the "to either cut down on beer or the kids new gear" internal rhyme, for example, packs a punch--perhaps torque-- that adds to the line's tension. This opened up a wider range of expectations from lyrics and by extension broadened my expectations of what verse/poetry could be & do, so when I read more modern poetry in high school I didn't find it immediately lacking; that is, I tried to fugure it out on its own terms.

But more to any point I might have here, "Town Called Malice" came up on my i-pod today while I was on the 82L from Chinatown back to East Oakland, and I was thrown into a flash of active memory where all the associations I have stored up that include this song montaged in quick succession, causing me to associate heretofore unassociated events in an attempt to make sense of the then present mental thread. The 82 or 82L is good for this, though it comes lowly recommended as a bus route.

Town Called Malice
Better stop dreaming of the quiet life
cuz its the one we'll never know
and quit running for that runaway bus
cuz those rosey days are few and
stop apologizing for the things you never done
cuz time is short and life is cruel
but its up to us to change
this town called Malice

Rows and rows of disused milk
as they lie in the dairy yard
and a hundred lonely housewives
clutch empty milk bottles to their hearts
hanging out their old love letters on the line to dry
its enough to make you stop believing when tears come fast
--and furious
in a town called Malice

Struggle after struggle
year after year
the atmosphere's a fine blend of ice
I'm almost stone cold dead
in a town called Malice

A whole street's belief in Sunday's roast beef
gets dashed against the co-op
to either cut down on beer or the kids new gear
it's a big decision in a town called Malice

The ghost of a steam train
echoes down my track
it's at the moment bound for nowhere
just going round and round
playground kids and creaking swings
lost laughter in the breeze
I could go on for hours and I probably will
but I'd sooner put some joy back in
this town called Malice

Don't get me started on the inclusive "we" in line 2.



March 7, 2007

Jean Baudrillard (1929-2007)

“All of our values are simulated,” Baudrillard told The New York Times in 2005. “What is freedom? We have a choice between buying one car or buying another car? It’s a simulation of freedom.”

March 7, 2007

Ernest Gallo (1909-2007)

March 7, 2007


March 5, 2007

2:30: Emily Dickinson is taken by a graduate student.

March 5, 2007


Sedaris went in less than a half hour. Poe is gone after 2 hours, and poor Emily is still on the table.

March5, 2006

Experiement 1: I put 3 books out on the free table this morning:

David Sedaris, Dress Your Family in Corduroy and Denim
Edgar Allen Poe, The Fall of the House of Usher and Other Writings
Emily Dickinson, The Collected Poems

The experiment is to see which of these is the last to be snatched up by a group of English Faculty (who I assume would own these already if they wanted them), graduate students, English majors & various undergraduates.

I will report on the outcome later today.


March 4, 2007

Tonight at 21 Grand:

Sunday, March 4
Fred Frith/Tim Perkis Duo + Bush of Ghosts
8pm, $6-10


March 2, 2007

The word for the day is "redboard."


March 1, 2007

A 4.2 earthquake & I miss it because I am on a bike on my way to work and don't feel it.

March 1, 2007

source: Lugnut #4

World Book Day, 2007

The 10 books Brits can't live without:
  1. Pride and Prejudice - Jane Austen 20%
  2. Lord of the Rings - JRR Tolkein 17%
  3. Jane Eyre - Charlotte Bronte 14%
  4. Harry Potter books - J K Rowling 12%
  5. To Kill A Mockingbird - Harper Lee 9.5%
  6. The Bible 9%
  7. Wuthering Heights - Emily Bronte 8.5%
  8. Nineteen Eighty Four - George Orwell 6%, tied with:
    His Dark Materials - Philip Pullman 6%
  9. Great Expectations - Charles Dickens 0.55%

That England would rank Mockingbird so high is a curious thing, being set in a mid-century racist American South.

The Top 100
1. Pride and Prejudice, Jane Austen
2. Lord of the Rings, The, JRR Tolkien
3. Jane Eyre, Charlotte Bronte
4. Harry Potter Series, JK Rowling
5. To Kill a Mockinbird, Harper Lee
6. Bible
7. Wuthering Heights, Emily Bronte
8. Nineteen Eighty Four, George Orwell (8th equal)
9. His Dark Materials, Philip Pullman (8th equal)
10. Great Expectations, Charles Dickens
11. Little Women, Louisa M Alcott
12. Tess of the D’Urbervilles, Thomas Hardy
13. Catch 22, Joseph Heller
14. Complete Works of Shakespeare, William Shakespeare
15. Rebecca, Daphne Du Maurier
16. The Hobbit, JRR Tolkien
17. Birdsong, Sebastian Faulks
18. Catcher in the Rye, JD Salinger
19. The Time Travellers Wife, Audrey Niffenneger
20. Middlemarch, George Eliot
21. Gone with the Wind, Margaret Mitchell
22. The Great Gatsby, Fitzgerald F Scott
23. Bleak House, Charles Dickens
24. War and Peace, L.N Tolstoy
25. The Hitch Hikers Guide to the Galaxy, Douglas Adams
26. Brideshead Revisited, Evelyn Waugh
27. Crime and Punishment, Fyodor Dostoyevsky
28. Grapes of Wrath, John Steinbeck
29. Alice in Wonderland, Lewis Carroll
30. The Wind in the Willows, Kenneth Grahame
31. Anna Karenina, Leo Tolstoy
32. David Copperfield, Charles Dickens
33. Chronicles of Narnia, C.S Lewis
34. Emma, Jane Austen
35. Persuasion, Jane Austen
36. The Lion, The Witch and The Wardrobe, C.S.Lewis
37. The Kite Runner, Khaled Hosseini
38. Captain Corelli’s Mandolin, Louis De Bernieres
39. Memoirs of a Geisha, Arthur Golden
40. Winnie the Pooh, A A Milne
41. Animal Farm, George Orwell
42. The Da Vinci Code, Dan Brown
43. One Hundred Years of Solitude, Gabriel Garcia Marquez
44. A Prayer for Owen Meaney, John Irving
45. The Woman in White, Wilkie Collins
46. Anne of Green Gables, LM Montgomery
47. Far from the Maddening Crowd, Thomas Hardy
48. The Handmaid’s Tale, Margaret Atwood
49. Lord of the Flies, William Golding
50. Atonement, Ian McEwan
51. Life of Pi, Yann Martel
52. Dune, Frank Herbert
53. Cold Comfort Farm, Stella Gibbons
54. Sense and Sensibility, Jane Austen
55. A Suitable Boy, Vikrem Seth
56. The Shadow of the Wind, Carlos Ruiz Zafon
57. A Tale of Two Cities, Charles Dickens
58. Brave New World, Aldous Huxley
59. The Curious Incident of the Dog in the Night-time, Mark Haddon
60. Love in the Time of Chloera, Gabriel Garcia Marquez
61. Of Mice and Men, John Steinbeck
62. Lolita, Vladimir Nabokov
63. The Secret History, Donna Tartt
64. The Lovely Bones, Alice Sebold
65. Count of Monte Cristo, Alexandre Dumas
66. On the Road, Jack Kerouac
67. Jude the Obscure, Thomas Hardy
68. Bridget Jones’s Diary, Helen Fielding
69. Midnight’s Children, Salman Rushdie
70. Moby Dick, Herman Melville
71. Oliver Twist, Charles Dickens
72. Dracula, Bram Stoker
73. The Secret Garden, Frances Hodgson Burnett
74. Notes from a Small Island, Bill Bryson
75. Ulysses, James Joyce
76. The Bell Jar, Sylvia Plath
77. Swallows and Amazons, Arthur Ransome
78. Germinal, Emil Zola
79. Vanity Fair, William Makepeace Thackeray
80. Possession, A S Byatt
81. A Christmas Carol, Charles Dickens
82. Cloud Atlas, David Mitchell
83. The Color Purple, Alice Walker
84. The Remains of the Day, Kazuo Ishiguro
85. Madame Bovary, Gustave Flaubert
86. A Fine Balance, Rohinton Mistry
87. Charlotte’s Web, E.B. White
88. The Five People You Meet In Heaven, Mitch Alborn
89. Adventures of Sherlock Holmes, Sir Arthur Conan Doyle
90. The Faraway Tree Collection, Enid Blyton
91. Heart of Darkness, Joseph Conrad
92. The Little Prince, Antoine De Saint-Exupery
93. The Wasp Factory, Iain Banks
94. Watership Down, Richard Adams
95. A Confederacy of Dunces, John Kennedy Toole
96. A Town Like Alice, Nevil Shute
97. The Three Musketeers, Alexander Dumas
98. Hamlet, William Shakespeare
99. Charlie and the Chocolate Factory, Roald Dahl
100.Les Miserables, Victor Hugo


February 28, 2007

Richard Kostelanetz, "Advice to a Young Poet," Melee 1.1 (Jan 2007): 14-5.

"In writing your own poetry, don't do anything too conspicuously alternative either in content or form; your poetry will be judged 'acceptable' only to the degree that it resembles what other people are doing. [. . . ] Do not confuse the values of poetry with visual art or even concert music, where ambitious aspirants know they won't get anyone's attention unless they do something uniquely different from their predecessors. Writing poetry with character or a stylistic signature, as the great early moderns did, is definitely old-fashioned; it's strictly for 'wild men' nowadays" (15).


February 28. 2007

Fetish: the Culture of Fear & Desire

On Wednesday, February 28th, San Francisco-based arts organization Kearny Street Workshop presents the opening reception for a new visual exhibition, Fetish: the Culture of Fear & Desire, that runs February 28 – May 5, 2007. What is a fetish and what forms can it take? What kind of power does a fetish have, in terms of how we perceive our surroundings, and how we act in our environment? In the cultural context, fetishes are often based on projections and myths ascribed to The Other; fantasy and desire stemming from idealization or exotification. Desire can morph into fear and the development of stereotypes. Where does desire come from, and how do we desire? What are the consequences of this kind of desire? How can desire imprison us?

Featuring work by Noritaka Minami, Dorian Katz, Shizue Seigel, Matthew Abaya, Yun Bai, Derek Chung, Minette Mangahas, Truong Tran, and Erin Ng, this group exhibition seeks to ask and investigate these questions from surprising, challenging, and illuminating perspectives.

Event: Opening Reception for Fetish: the Culture of Fear & Desire

Opening reception: Wednesday, February 28th , 2007; 7 - 9.30pm
Exhibition runs 2/28 – 3/5; gallery hours are Tues & Thurs, 2- 6pm, and Saturdays 12 – 4pm, or by appointment.

Location: KSW's space180, 180 capp street, @ 17th street, San Francisco

Cost: opening reception: $2 - 5 suggested donation; no one turned away for lack of funds.

Gallery hours: free

contact KSW, 415.503.0520,,