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"bio": "Since age three, Timothy Buckwalter has been listening to music and drawing.As a teenager growing up near Philadelphia in the early '80s, he discovered hip hop and post-punk. Buckwalter spent his adolescence getting paid to dj parties and finish his friend's high school art assignments. While in art school he was in an incredibly unpopular noise band, and co-organized with Robert Curcio (of Pulse Art Fair fame) their college's first performance art events. Buckwalter spent most of his time at Tyler School of Art drawing and painting or berating other student's work at studio critiques. After a brief stint answering phone queries and responding to complaints about art at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>, he sold his record collection and moved to California.Buckwalter his primarily a painter and has exhibited around the country. He is represented by \u003ca href=\"http://www.bquayartgallery.com/\">Braunstein/Quay Gallery\u003c/a> in San Francisco and \u003ca href=\"http://www.rebeccaibel.com/\">Rebecca Ibel Gallery\u003c/a> in Columbus Ohio. In 2006, after a conversation with Dan Golden about alternatives to the gallery system, Timothy spent the bulk of the year making more than 700 drawings, selling them online through a hugely-popular curated weekly exhibition.He is married to author and journalist \u003ca href=\"http://www.amazon.com/exec/obidos/search-handle-url/103-1780071-8102251?%5Fencoding=UTF8&search-type=ss&index=books&field-author=Nell%20Bernstein\">Nell Bernstein\u003c/a>. They have six year-old twins who like to draw. Timothy Buckwalter still listens to music while working, and yes, much of it is still mostly hip hop and post-punk.",
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"content": "\u003cp>A painter can often recall the first painting that truly inspired. Below is the second in a three part series (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\" target=\"offsite\" rel=\"noopener\">read part one\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>TIMOTHY BUCKWALTER:\u003c/b> \u003ca href=\"http://www.understandingduchamp.com/\">Marcel Duchamp\u003c/a> knocked me out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/nude.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">I was 17-years-old and visiting a show of painted Dutch tiles at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>. I wandered out of the exhibition, eventually making my way back to the Modern and Contemporary section. I stumbled into Gallery 182 and looked up to see Duchamp’s \u003cb>Nude Descending a Staircase (No. 2)\u003c/b>. I never looked back.\u003c/p>\n\u003cp>Earlier that year, 1983, I had seen a reproduction of Franz Marc’s \u003ca href=\"http://media.walkerart.org/5939480.jpg\" target=\"offsite\" rel=\"noopener\">The Large Blue Horses\u003c/a>. It blew me away. Though it was painted more than 72 years before, to my untrained eye it was like an amazing combination of tattoo art and new wave music. It wore the butch confidence and primitiveness of flash. And the colors seemed so alive I instantly related it to the vibrancy of the music with which I was obsessed. I kept trying to find more.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Der_Blaue_Reiter\" target=\"offsite\" rel=\"noopener\">Marc and the Blue Rider group\u003c/a> — a loosely knit collective of artists that held the then-radical notion of integrating art across media boundaries, so they actively recruited not only painters and sculptors but also musicians, composers, writers, architects, and designers to their ranks — made me realize that art could be as big as life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Duchamp offered something else, a beauty and grace mixed with motion and messiness. There was nowhere on the canvas that wasn’t moving, wasn’t alive. Action and motion lines were exploding everywhere. The figure had a giddiness to it. It was kinda funny and made me think of sex. I couldn’t stop staring.\u003c/p>\n\u003cp>And I wanted a part of it. I wanted to spend my life trying to paint like that.\u003c/p>\n\u003cp>\u003ca href=\"http://timothybuckwalter.typepad.com/\" target=\"offsite\" rel=\"noopener\">Timothy Buckwalter\u003c/a>‘s paintings and drawings are currently the subject of an exhibition at \u003ca href=\"http://www.pharmaka-art.org/\" target=\"offsite\" rel=\"noopener\">Pharmaka Art\u003c/a>. He is represented by Rebecca Ibel Gallery and Braunstein/Quay Gallery. Online his work is represented by \u003ca href=\"http://www.beholder-art.com/search_results.html\" target=\"offsite\" rel=\"noopener\">The Beholder\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/battle.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>BILL DUNLAP:\u003c/b> I grew up in a tiny town in Western Maryland, on the edge of the Potomac River, near West Virginia. For some unknown reason, having in the family no artists, art lovers, or even book lovers, I had a great need as a kid to get to the public library often, so that I could sit on the floor and look at the library’s small collection of art books.\u003c/p>\n\u003cp>Some of the things I remember really loving were: the way \u003ca href=\"http://en.wikipedia.org/wiki/J._M._W._Turner\" target=\"offsite\" rel=\"noopener\">JMW Turner\u003c/a> painted skies, the way \u003ca href=\"http://en.wikipedia.org/wiki/Vincent_van_Gogh\" target=\"offsite\" rel=\"noopener\">van Gogh\u003c/a> drew people and animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/George_Grosz\" target=\"offsite\" rel=\"noopener\">George Grosz\u003c/a> drew people as animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/Frida_Kahlo\" target=\"offsite\" rel=\"noopener\">Frida Kahlo\u003c/a> brought so many seemingly unrelated objects to play in one canvas, and \u003ca href=\"http://en.wikipedia.org/wiki/Pablo_Picasso\" target=\"offsite\" rel=\"noopener\">Picasso\u003c/a>, of course, the way he did everything. I was hooked first by modernism, then moved backward through art history. My favorites there at times have been \u003ca href=\"http://en.wikipedia.org/wiki/Pieter_Brueghel_the_Elder\" target=\"offsite\" rel=\"noopener\">Brueghel\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Giotto_di_Bondone\" target=\"offsite\" rel=\"noopener\">Giotto\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Piero_della_Francesca\" target=\"offsite\" rel=\"noopener\">Piero della Francesca\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Francisco_Goya\" target=\"offsite\" rel=\"noopener\">Goya\u003c/a>, and so many anonymous ancient Egyptian, ancient Greek, and medieval European artists.\u003c/p>\n\u003cp>I’ve always had what I felt was some kind of intuitive understanding of the visual arts. There is certainly much I don’t know about visual art, but I never needed to have it taught to me, or to be sold on it. I just eagerly ate it up. \u003c/p>\n\u003cp>All of that was fine, but I wasn’t making my own art in any steady, determined way. That happened later, when I was living in San Francisco. The trigger for that, I think, was \u003ca href=\"http://en.wikipedia.org/wiki/Paul_Klee\" target=\"offsite\" rel=\"noopener\">Paul Klee\u003c/a>. I’ve studied so many of his pieces over time, but if I had to pick just one that really got me started on obsessively making my own work, it might be his 1923 watercolor titled \u003cb>Battle Scene from the Comic Opera ‘The Seafarer’\u003c/b>. That one seems to me to have a lifetime of starting points for art-making. There seem to be so many ideas here about color, line, composition, patterning, geometric shape, archetypal symbols (crosses, blood, the number three), wit, charm, horror, violence, and the great fun to be had in titling a piece. And it’s all executed in a sort of brilliant technique of anti-technique.\u003c/p>\n\u003cp>Klee has had a lasting impact on me, and many of my art-wandering paths have started from something I saw in his work. This has led me into “primitive” art, art done by children, the mentally ill, folk art, and art by self-taught visionaries and outsiders of many different stripes. I think much of what I do now to be a kind of anti-technique anti-art. I’m not exactly sure how I ended up here, but I know Paul Klee had a lot to do with it.\u003c/p>\n\u003cp>In recent years, \u003ca href=\"http://www.billdunlap.com/\" target=\"offsite\" rel=\"noopener\">Bill Dunlap\u003c/a> has been seen in \u003ca href=\"http://www.billdunlap.com/popup/painting_resume.html\" target=\"offsite\" rel=\"noopener\">numerous shows in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/juan.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CAITLIN MITCHELL-DAYTON:\u003c/b> I always knew I was going to be “an artist”; not that I had a particularly well defined idea of what that might actually mean; making pictures, I guess. If there were any real paintings in the Southern California town where I grew up, I didn’t see them. And even when I moved to the Bay Area, the artists that meant the most to me weren’t represented here by real paintings; in other words I knew their work only through reproduction.\u003c/p>\n\u003cp>When I was halfway through graduate school and able to visit the \u003ca href=\"http://www.metmuseum.org/\" target=\"offsite\" rel=\"noopener\">Metropolitan Museum\u003c/a> in Manhattan, I came upon \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Vel%C3%83%C2%A1zquez\" target=\"offsite\" rel=\"noopener\">Diego Velasquez’s\u003c/a> \u003cb>Juan de Pareja\u003c/b>, — which is a weird format, a half-portrait (the standard is either full-length or head shot). I’m short and the heads of Velasquez’ full length portraits tower so far above me that I can’t get the close view of them that I’d like. \u003cb>Juan de Pareja\u003c/b> hangs more or less at my eye level. You can stare right into his face. The sensation of looking at a real person is hypnotic, peculiar, creepy and intoxicating. Juan de Pareja was Velasquez’ assistant — a regular guy. He looks wary, serious, vulnerable and dignified. He is a particular, specific person. And he is entirely aware of being painted.\u003c/p>\n\u003cp>\u003cb>Juan de Pareja\u003c/b> didn’t help me to decide to paint, but it did show me the kind of painting I wanted to make. Without exactly formulating it to myself at the time, I tried to grasp those qualities, which were to some extent and in an unfocused way present or at least being attempted in the work I was making then. Since then, I have used them as benchmarks for every painting I make.\u003c/p>\n\u003cp>Caitlin Mitchell-Dayton received her MFA from the University of California at Berkeley. She has had solo shows at the John Berggruen Gallery and \u003ca href=\"http://www.gallerypauleanglim.com/mitchell_dayton.html\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a>, and her work has been exhibited in the Bay Area at Yerba Buena Center for the Arts, the De Young Museum and SFMOMA, in Los Angeles at the Lizabeth Oliveria Gallery, and in New York at the Drawing Center and in Pierogi 2000’s traveling files. She has been a Visiting Lecturer at the San Francisco Art Institute since 1999. You can also see her on \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=17288\">Gallery Crawl\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/mystery.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>KERRI JOHNSON:\u003c/b> When I was a kid my dad and I would watch public television together, \u003ca href=\"http://www.wgbh.org/\" target=\"offsite\" rel=\"noopener\">WGBH\u003c/a> in Boston. The night would always start with some kind of nature program, followed by \u003cb>Dr. Who\u003c/b> — those were the Tom Baker years, my favorite — and after that I would stay up to watch \u003ca href=\"http://www.youtube.com/watch?v=KxsUiEds8BU\" target=\"offsite\" rel=\"noopener\">the intro for a show\u003c/a> called \u003cb>Mystery!\u003c/b>.\u003c/p>\n\u003cp>The animated intro completely blew me away and I remember thinking the same thing every time I watched it, “why isn’t the entire show done like this?” I was always disappointed when the beautiful, black and white hatch marks would give way to real, stodgy, middle aged British actors.\u003c/p>\n\u003cp>I believe it was the rough elegance of the animation and the “gothic” blackness of the imagery and backgrounds that drew me in, not to mention the underlying dark sense of humor. It was not until I grew a little older and started paying attention to credits that I found out it was the handiwork of \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Gorey\" target=\"offsite\" rel=\"noopener\">Edward Gorey\u003c/a>.\u003c/p>\n\u003cp>As a youngster I would imitate his angular style with a standard black pen in my sketchpad, creating my own foreboding characters as if they were surrogate offspring. I would draw for hours trying to extract the same feeling from my drawings that I would get from seeing Gorey.\u003c/p>\n\u003cp>While my color pallet and drawing style have evolved since those early days, the sinister yet playful sensibility Gorey so beautifully conveyed was an important early influence and it continues to inform my work.\u003c/p>\n\u003cp>I still love to watch the introduction to \u003cb>Mystery!\u003c/b> and I continue to feel that the program would have been far more popular if they had let Edward Gorey write and animate the entire series. I know I would have stayed to watch instead of picking up my sketchpad and going off to bed after the intro ended.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.kerrileejohnson.com/\" target=\"offsite\" rel=\"noopener\">Kerri Johnson\u003c/a> recently had a solo show at \u003ca href=\"httphttp://www.21grand.org/\">21 Grand\u003c/a>. She is director of \u003ca href=\"http://www.blankspacegallery.com/\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>.\u003c/p>\n\n",
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"bio": "Since age three, Timothy Buckwalter has been listening to music and drawing.As a teenager growing up near Philadelphia in the early '80s, he discovered hip hop and post-punk. Buckwalter spent his adolescence getting paid to dj parties and finish his friend's high school art assignments. While in art school he was in an incredibly unpopular noise band, and co-organized with Robert Curcio (of Pulse Art Fair fame) their college's first performance art events. Buckwalter spent most of his time at Tyler School of Art drawing and painting or berating other student's work at studio critiques. After a brief stint answering phone queries and responding to complaints about art at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>, he sold his record collection and moved to California.Buckwalter his primarily a painter and has exhibited around the country. He is represented by \u003ca href=\"http://www.bquayartgallery.com/\">Braunstein/Quay Gallery\u003c/a> in San Francisco and \u003ca href=\"http://www.rebeccaibel.com/\">Rebecca Ibel Gallery\u003c/a> in Columbus Ohio. In 2006, after a conversation with Dan Golden about alternatives to the gallery system, Timothy spent the bulk of the year making more than 700 drawings, selling them online through a hugely-popular curated weekly exhibition.He is married to author and journalist \u003ca href=\"http://www.amazon.com/exec/obidos/search-handle-url/103-1780071-8102251?%5Fencoding=UTF8&search-type=ss&index=books&field-author=Nell%20Bernstein\">Nell Bernstein\u003c/a>. They have six year-old twins who like to draw. Timothy Buckwalter still listens to music while working, and yes, much of it is still mostly hip hop and post-punk.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A painter can often recall the first painting that truly inspired. Below is the second in a three part series (\u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\" target=\"offsite\" rel=\"noopener\">read part one\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to paint.\u003c/p>\n\u003cp>\u003cb>TIMOTHY BUCKWALTER:\u003c/b> \u003ca href=\"http://www.understandingduchamp.com/\">Marcel Duchamp\u003c/a> knocked me out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/nude.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">I was 17-years-old and visiting a show of painted Dutch tiles at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>. I wandered out of the exhibition, eventually making my way back to the Modern and Contemporary section. I stumbled into Gallery 182 and looked up to see Duchamp’s \u003cb>Nude Descending a Staircase (No. 2)\u003c/b>. I never looked back.\u003c/p>\n\u003cp>Earlier that year, 1983, I had seen a reproduction of Franz Marc’s \u003ca href=\"http://media.walkerart.org/5939480.jpg\" target=\"offsite\" rel=\"noopener\">The Large Blue Horses\u003c/a>. It blew me away. Though it was painted more than 72 years before, to my untrained eye it was like an amazing combination of tattoo art and new wave music. It wore the butch confidence and primitiveness of flash. And the colors seemed so alive I instantly related it to the vibrancy of the music with which I was obsessed. I kept trying to find more.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Der_Blaue_Reiter\" target=\"offsite\" rel=\"noopener\">Marc and the Blue Rider group\u003c/a> — a loosely knit collective of artists that held the then-radical notion of integrating art across media boundaries, so they actively recruited not only painters and sculptors but also musicians, composers, writers, architects, and designers to their ranks — made me realize that art could be as big as life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Duchamp offered something else, a beauty and grace mixed with motion and messiness. There was nowhere on the canvas that wasn’t moving, wasn’t alive. Action and motion lines were exploding everywhere. The figure had a giddiness to it. It was kinda funny and made me think of sex. I couldn’t stop staring.\u003c/p>\n\u003cp>And I wanted a part of it. I wanted to spend my life trying to paint like that.\u003c/p>\n\u003cp>\u003ca href=\"http://timothybuckwalter.typepad.com/\" target=\"offsite\" rel=\"noopener\">Timothy Buckwalter\u003c/a>‘s paintings and drawings are currently the subject of an exhibition at \u003ca href=\"http://www.pharmaka-art.org/\" target=\"offsite\" rel=\"noopener\">Pharmaka Art\u003c/a>. He is represented by Rebecca Ibel Gallery and Braunstein/Quay Gallery. Online his work is represented by \u003ca href=\"http://www.beholder-art.com/search_results.html\" target=\"offsite\" rel=\"noopener\">The Beholder\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/battle.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>BILL DUNLAP:\u003c/b> I grew up in a tiny town in Western Maryland, on the edge of the Potomac River, near West Virginia. For some unknown reason, having in the family no artists, art lovers, or even book lovers, I had a great need as a kid to get to the public library often, so that I could sit on the floor and look at the library’s small collection of art books.\u003c/p>\n\u003cp>Some of the things I remember really loving were: the way \u003ca href=\"http://en.wikipedia.org/wiki/J._M._W._Turner\" target=\"offsite\" rel=\"noopener\">JMW Turner\u003c/a> painted skies, the way \u003ca href=\"http://en.wikipedia.org/wiki/Vincent_van_Gogh\" target=\"offsite\" rel=\"noopener\">van Gogh\u003c/a> drew people and animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/George_Grosz\" target=\"offsite\" rel=\"noopener\">George Grosz\u003c/a> drew people as animals, the way \u003ca href=\"http://en.wikipedia.org/wiki/Frida_Kahlo\" target=\"offsite\" rel=\"noopener\">Frida Kahlo\u003c/a> brought so many seemingly unrelated objects to play in one canvas, and \u003ca href=\"http://en.wikipedia.org/wiki/Pablo_Picasso\" target=\"offsite\" rel=\"noopener\">Picasso\u003c/a>, of course, the way he did everything. I was hooked first by modernism, then moved backward through art history. My favorites there at times have been \u003ca href=\"http://en.wikipedia.org/wiki/Pieter_Brueghel_the_Elder\" target=\"offsite\" rel=\"noopener\">Brueghel\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Giotto_di_Bondone\" target=\"offsite\" rel=\"noopener\">Giotto\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Piero_della_Francesca\" target=\"offsite\" rel=\"noopener\">Piero della Francesca\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Francisco_Goya\" target=\"offsite\" rel=\"noopener\">Goya\u003c/a>, and so many anonymous ancient Egyptian, ancient Greek, and medieval European artists.\u003c/p>\n\u003cp>I’ve always had what I felt was some kind of intuitive understanding of the visual arts. There is certainly much I don’t know about visual art, but I never needed to have it taught to me, or to be sold on it. I just eagerly ate it up. \u003c/p>\n\u003cp>All of that was fine, but I wasn’t making my own art in any steady, determined way. That happened later, when I was living in San Francisco. The trigger for that, I think, was \u003ca href=\"http://en.wikipedia.org/wiki/Paul_Klee\" target=\"offsite\" rel=\"noopener\">Paul Klee\u003c/a>. I’ve studied so many of his pieces over time, but if I had to pick just one that really got me started on obsessively making my own work, it might be his 1923 watercolor titled \u003cb>Battle Scene from the Comic Opera ‘The Seafarer’\u003c/b>. That one seems to me to have a lifetime of starting points for art-making. There seem to be so many ideas here about color, line, composition, patterning, geometric shape, archetypal symbols (crosses, blood, the number three), wit, charm, horror, violence, and the great fun to be had in titling a piece. And it’s all executed in a sort of brilliant technique of anti-technique.\u003c/p>\n\u003cp>Klee has had a lasting impact on me, and many of my art-wandering paths have started from something I saw in his work. This has led me into “primitive” art, art done by children, the mentally ill, folk art, and art by self-taught visionaries and outsiders of many different stripes. I think much of what I do now to be a kind of anti-technique anti-art. I’m not exactly sure how I ended up here, but I know Paul Klee had a lot to do with it.\u003c/p>\n\u003cp>In recent years, \u003ca href=\"http://www.billdunlap.com/\" target=\"offsite\" rel=\"noopener\">Bill Dunlap\u003c/a> has been seen in \u003ca href=\"http://www.billdunlap.com/popup/painting_resume.html\" target=\"offsite\" rel=\"noopener\">numerous shows in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/juan.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CAITLIN MITCHELL-DAYTON:\u003c/b> I always knew I was going to be “an artist”; not that I had a particularly well defined idea of what that might actually mean; making pictures, I guess. If there were any real paintings in the Southern California town where I grew up, I didn’t see them. And even when I moved to the Bay Area, the artists that meant the most to me weren’t represented here by real paintings; in other words I knew their work only through reproduction.\u003c/p>\n\u003cp>When I was halfway through graduate school and able to visit the \u003ca href=\"http://www.metmuseum.org/\" target=\"offsite\" rel=\"noopener\">Metropolitan Museum\u003c/a> in Manhattan, I came upon \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Vel%C3%83%C2%A1zquez\" target=\"offsite\" rel=\"noopener\">Diego Velasquez’s\u003c/a> \u003cb>Juan de Pareja\u003c/b>, — which is a weird format, a half-portrait (the standard is either full-length or head shot). I’m short and the heads of Velasquez’ full length portraits tower so far above me that I can’t get the close view of them that I’d like. \u003cb>Juan de Pareja\u003c/b> hangs more or less at my eye level. You can stare right into his face. The sensation of looking at a real person is hypnotic, peculiar, creepy and intoxicating. Juan de Pareja was Velasquez’ assistant — a regular guy. He looks wary, serious, vulnerable and dignified. He is a particular, specific person. And he is entirely aware of being painted.\u003c/p>\n\u003cp>\u003cb>Juan de Pareja\u003c/b> didn’t help me to decide to paint, but it did show me the kind of painting I wanted to make. Without exactly formulating it to myself at the time, I tried to grasp those qualities, which were to some extent and in an unfocused way present or at least being attempted in the work I was making then. Since then, I have used them as benchmarks for every painting I make.\u003c/p>\n\u003cp>Caitlin Mitchell-Dayton received her MFA from the University of California at Berkeley. She has had solo shows at the John Berggruen Gallery and \u003ca href=\"http://www.gallerypauleanglim.com/mitchell_dayton.html\" target=\"offsite\" rel=\"noopener\">Gallery Paule Anglim\u003c/a>, and her work has been exhibited in the Bay Area at Yerba Buena Center for the Arts, the De Young Museum and SFMOMA, in Los Angeles at the Lizabeth Oliveria Gallery, and in New York at the Drawing Center and in Pierogi 2000’s traveling files. She has been a Visiting Lecturer at the San Francisco Art Institute since 1999. You can also see her on \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=17288\">Gallery Crawl\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/mystery.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>KERRI JOHNSON:\u003c/b> When I was a kid my dad and I would watch public television together, \u003ca href=\"http://www.wgbh.org/\" target=\"offsite\" rel=\"noopener\">WGBH\u003c/a> in Boston. The night would always start with some kind of nature program, followed by \u003cb>Dr. Who\u003c/b> — those were the Tom Baker years, my favorite — and after that I would stay up to watch \u003ca href=\"http://www.youtube.com/watch?v=KxsUiEds8BU\" target=\"offsite\" rel=\"noopener\">the intro for a show\u003c/a> called \u003cb>Mystery!\u003c/b>.\u003c/p>\n\u003cp>The animated intro completely blew me away and I remember thinking the same thing every time I watched it, “why isn’t the entire show done like this?” I was always disappointed when the beautiful, black and white hatch marks would give way to real, stodgy, middle aged British actors.\u003c/p>\n\u003cp>I believe it was the rough elegance of the animation and the “gothic” blackness of the imagery and backgrounds that drew me in, not to mention the underlying dark sense of humor. It was not until I grew a little older and started paying attention to credits that I found out it was the handiwork of \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Gorey\" target=\"offsite\" rel=\"noopener\">Edward Gorey\u003c/a>.\u003c/p>\n\u003cp>As a youngster I would imitate his angular style with a standard black pen in my sketchpad, creating my own foreboding characters as if they were surrogate offspring. I would draw for hours trying to extract the same feeling from my drawings that I would get from seeing Gorey.\u003c/p>\n\u003cp>While my color pallet and drawing style have evolved since those early days, the sinister yet playful sensibility Gorey so beautifully conveyed was an important early influence and it continues to inform my work.\u003c/p>\n\u003cp>I still love to watch the introduction to \u003cb>Mystery!\u003c/b> and I continue to feel that the program would have been far more popular if they had let Edward Gorey write and animate the entire series. I know I would have stayed to watch instead of picking up my sketchpad and going off to bed after the intro ended.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kerrileejohnson.com/\" target=\"offsite\" rel=\"noopener\">Kerri Johnson\u003c/a> recently had a solo show at \u003ca href=\"httphttp://www.21grand.org/\">21 Grand\u003c/a>. She is director of \u003ca href=\"http://www.blankspacegallery.com/\" target=\"offsite\" rel=\"noopener\">Blankspace Gallery\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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