tv [untitled] April 3, 2011 1:00pm-1:30pm PDT
ruk and kuip. [applause] >> the san diego padres -- the atlanta braves, the philadelphia phillies, the texas rangers, they are all otta here! [applause] -- outta here! i came to this organization in 1982 and i only knew the couple of things about it. one, it had a really bad ballpark. it used to have a center fielder by the name of willie mays. its current center fielder was some guy named chilly. i also knew that it had not won
a change in ship. my daughter started in 1982 and i am happy to say, thanks to these gentlemen here, the torture is over! [applause] how great was that parade? i know everyone up here felt it. i know you felt it. everyone here today, you are standing here, and you are not standing alone. you are standing with the person who taught you the great story of the san francisco giants, whether it is your dad, mom, friend, a sister, grandpa. they taught you right. they thought you had to be loyal. you have to love your team. to a man on this team, to a man back in august, you fuel and
energized this group all the way through september, and through the epic month of october, and what is one glorious day in november. you have but one responsibility, and you owe it to the person that taught you the good book of the san francisco giants. you need to pass this story on. keep this love alive. when you tell the story, simply tell them, we are the giants. we are san francisco. we of the world champions -- we are the world champions! [applause] >> please welcome tim lincecum, brian wilson, and matt cain! [applause]
before they come up, i want to say one thing. before the last game, we were having in texas, and he said, this story has been written. please welcome brian wilson. >> i am not a man of many words. i did not really know what to say. i am having a mini-heart attack. maybe it is the smell of prop 19. i am not sure. thank you all. you are etched in history. you had our backs from day one. i would also like to thank the mayor for allowing me to try to take the reins. i do not think i am up for the job, but i also have three
words. i know the man who is. where is the machine? [applause] >> like bryan and machine, i am not a man of many words at all. i do not talk much at all. just coming out here and seeing you give us support from day one, from spring training through august, all the way to texas. seeing black and orange out there was so awesome and fun and exciting. it made us so much more comfortable to play. all i can say is thank you. go san francisco. [applause]
>> wow. it is a lot more wracking than you think. first, we want to thank everyone who got us here. we all have someone help us, whether it was our mom, dad, pitching coach, the coaches that we have now. they had a huge and in this. we want to thank them, our wives, our family, love the ones. we had a little talk. i said if we do not do as good as we did at least last year we will be a failure. we changed that and we did a good job of it. you all have waited so long for this and we brought it home for you all. thank you. you are the best. [applause]
>> 3 staples in this franchise for a very long time. i get the privilege of introducing three hitters. you will hear from all three of these gentlemen, aubrey huff, buster posey commac and, and fr sanchez. [applause] >> san francisco giants. world series champions. let's enjoy this today, tomorrow, a week, maybe a month, and then let's get back to work and make another run at it.
[applause] >> this is unbelievable, guys. first of all, i want to thank god for putting us in this situation and blessed us the way he has. i want to thank my family, my wife and my boys. my teammates. i tell you what. when i got traded over here, it was a tough long road, but our trading staff was unbelievable. kept us all on the field. a quick story -- when i was down earlier this year, sabs came in and said what are you doing, why are you upset? the season is not over yet. we traded for you for a reason. that picked me up. all the coaching staff,
everybody, we made it happen. as you know, i grew up a dodger fan, but right now and forever it is all about the san francisco giants and our world series, baby. [applause] >> san francisco giants are world champions. i am a part of it. i cannot believe it. nine years of my life. dead last our fourth place, this organization has the hard to bring me here and give me a chance. here i am in front of you beautiful people. you deserve it just as much as i do, trust me. i have a present for you all in san francisco. i am sure all of you have heard about the rallying song. i know this is a family event, but if you have seen zoolander,
>> one more word from andres torres. >> i want to wish my wife happy birthday. i love you. many more. >> thank you all for coming to andres torres' wife's birthday party. i cannot wait to have another party next year. ladies and gentlemen, three and half months, pitchers and catchers report to scottsdale. and the giants will try to do it again. we will see you at the yard. the giants are the champions of the world. congratulations and thank you. [applause]
>> welcome to "culture wire." today we're headed to smpling f. camera works, a premiere venue for artists working in photographer, video, and digital media. the latest exhibition lists clearness as a set of political alliances and possibilities that it is behind the sphere of dominant gay and lesbian culture. the curator fills us in on the process of creating this thoughtful exhibition. and what she would like you to take away from it. >> i co-cureated with danny, a chicago-based writer and curator. the conceptual framework is what it means to be clear and radical for our generation. clearness as a set of political
alliances and possibilities, not necessarily related to institutions of gender and swam formativity. danny and i wanted the show to feel funky and to have a really tangible quality to it. so part of that was incorporated handmade objects and installations and beautifully printed photographs and videos. there is also a lot of opportunities to participate and to take postcards or to get the photo taken or sit within a tent made out of afghan blankets to watch videos. the exhibition is organized in three distinct galleries. in gallery one, which is the gallery designated to clear activism, there is an installation by the
oakland-based collaboration and it's called "unleashed power." it's all focused on one protest that happened in chicago in 1991 with the activist organization act up, which was protesting the inadequate health care for people living in aids, and specifically it focuses on an act of police violence that occurred at that protest. the thing that is really interesting for me about that piece is that it brings us back 20 years to what clear activism looked like at the height of the aids crisis. gallery two features work that is related to intentionally communities that exist both within cities, also in rural spaces, and transient communities as well. the return features a no madic clear tribe, the people who join this tribe are often in
various states of transition themselves, whether it's leaving behind previous gender assignments or corporate jobs or a life within cities. a lot of the work featured in the exhibition and a lot of the installations are handmade objects. there is a lot of do-it-yourself aesthetic and that handmade do-it-yourself feeling is something that mimics the idea and the reality of the alternative world making that we're trying to represent here as far as the self-sufficient community goes. gallery three features work that relates to the ideas of self-determinenism, alternative world making and utopia. visits can still participate in
this -- visitors can still participate in this project. during the opening, we invite visitors to come in and try on these costumes, pose in front of the backdrop. he was really inspired by comic books that he read as growing up and thinks of this space as a post-apocalyptic monster portrait gallery where people can remain genderless once they put on the costumes. we think it's important that this be happening in san francisco, which is considered an ekpe center of the queer actual cure. the majority of the queer cultural events happen in june which has been designated as the pride month. which to me translates as the period of time in which people can be in clear arts and culture. in september, it's hashingening
back to that and proving that this is something that is scon significantly happening all the time. what danny and i hope visitors take away from this exhibition is to observe the diversity within the designation of queer in terms of race, in terms of gender presentation and intergenerational perspective of what it means to be queer as well as what it means to exist and be active and work in solidarity with people whose identities may or may not look like yours.
>> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of
graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws
as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists
doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the
materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he
got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print
shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume.