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"content": "\u003cp>A small crowd of near-identical human figures, painted in Day-Glo colors, dance across handmade paper. The figures move in sinuous, stacked rows of flattened perspective, reminiscent of the Mesoamerican codex illustrations that date back centuries, to the Spanish conquistadors’ arrival in what is now Mexico. But this is a work from 1970 by Aztec-Nahua artist Inocencio Jiménez Chino.\u003c/p>\n\n\n\n\u003cp>\u003cem>Santa Cruz \u003c/em>(\u003cem>Holy Cross\u003c/em>) features people in flashy-hued bell-bottoms, smiling with big eyes and even bigger hair. They parade toward a large cross, holding candles, plant fronds and musical instruments, integrating Christian practices with ancestral rituals for crop-nourishing rain.\u003c/p>\n\n\n\n\n\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n\n\n\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n\n\n\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jime%CC%81nez-Chino_15_web.jpg\" alt=\"\" class=\"wp-image-13989980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino. (Mariceu Erthal)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg\" alt=\"\" class=\"wp-image-13989979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective’ at Bedford Gallery. (Shaun Roberts)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n\n\n\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n\n\n\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Ti%CC%81o-Konejoh-y-la-mun%CC%83eca-de-cera-ilustracio%CC%81n-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg\" alt=\"\" class=\"wp-image-13989990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino, ‘Tío Konejoh y la muñeca de cera, ilustración 1’ (Uncle Rabbit & the Wax Doll: Plate 1), 2013; acrylic on handmade amate, 15 x 23 inches. (Courtesy of Catalyst Contemporary)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n\n\n\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>A small crowd of near-identical human figures, painted in Day-Glo colors, dance across handmade paper. The figures move in sinuous, stacked rows of flattened perspective, reminiscent of the Mesoamerican codex illustrations that date back centuries, to the Spanish conquistadors’ arrival in what is now Mexico. But this is a work from 1970 by Aztec-Nahua artist Inocencio Jiménez Chino.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Santa Cruz \u003c/em>(\u003cem>Holy Cross\u003c/em>) features people in flashy-hued bell-bottoms, smiling with big eyes and even bigger hair. They parade toward a large cross, holding candles, plant fronds and musical instruments, integrating Christian practices with ancestral rituals for crop-nourishing rain.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n",
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"\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n",
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"\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n",
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"\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web.jpg\" alt=\"\" class=\"wp-image-13989980\"/>\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n",
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"innerHTML": "\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n",
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"\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n"
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"innerHTML": "\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n",
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"headline": "‘Aztec Stories in Modern Mexico’ Brings Vibrant Artwork to Walnut Creek",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small crowd of near-identical human figures, painted in Day-Glo colors, dance across handmade paper. The figures move in sinuous, stacked rows of flattened perspective, reminiscent of the Mesoamerican codex illustrations that date back centuries, to the Spanish conquistadors’ arrival in what is now Mexico. But this is a work from 1970 by Aztec-Nahua artist Inocencio Jiménez Chino.\u003c/p>\n\n\n\n\u003cp>\u003cem>Santa Cruz \u003c/em>(\u003cem>Holy Cross\u003c/em>) features people in flashy-hued bell-bottoms, smiling with big eyes and even bigger hair. They parade toward a large cross, holding candles, plant fronds and musical instruments, integrating Christian practices with ancestral rituals for crop-nourishing rain.\u003c/p>\n\n\n\n\n\n\u003cp>The painting is part of \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Jiménez Chino’s first-ever retrospective\u003c/a>, currently on view at Walnut Creek’s Bedford Gallery. The show includes dozens of the artist’s exquisite, small-scale paintings and drawings, fantastic portrayals of rural life in the Mexican state of Guerrero, made over the past half century. As the exhibition’s title suggests, \u003cem>Aztec Stories in Modern Mexico \u003c/em>demonstrates a line of cultural resilience dating back to pre-Columbian times, as well as Jiménez Chino’s observations of the cultural possibilities and challenges that continue through the present day.\u003c/p>\n\n\n\n\u003cp>The work began as a creative side gig for Jiménez Chino, a way to engage with expanding tourist hunger for local culture. The self-taught artist initially channeled subject matter and styles from long-standing traditions; he depicted human figures with stereotypical features (all with similarly prominent chins and noses), and adorned artwork borders with intricate geometrics that wouldn’t be out of place on Central American visual art dating back to the 1500s.\u003c/p>\n\n\n\n\u003cp>In \u003cem>Santa Cruz\u003c/em> and other early paintings — 1972’s \u003cem>La sirena: la madre de los peces \u003c/em>(\u003cem>The Mermaid: Mother of the Fish\u003c/em>) and 1979’s \u003cem>Los cazadores \u003c/em>(\u003cem>The Hunters\u003c/em>) — glorious renderings of the sun make it a character itself. Jiménez Chino animates the celestial body as a sort of presiding deity, giving his sun a human face. He dedicates large portions of his compositions to its radiating, golden striations, sometimes set in skies also busy with stars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jime%CC%81nez-Chino_15_web.jpg\" alt=\"\" class=\"wp-image-13989980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Inocencio-Jiménez-Chino_15_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino. (Mariceu Erthal)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"1200\" data-id=\"13989979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg\" alt=\"\" class=\"wp-image-13989979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/BG260420-Layout-36_web-768x960.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective’ at Bedford Gallery. (Shaun Roberts)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Over decades of artistic development, Jiménez Chino’s style has evolved to incorporate more varied and realistic human faces and bodies, while continuing to manifest a larger cultural endurance. Through imagery and materials, Jiménez Chino creates work that is rooted in an Aztec-Nahua culture that colonialism attempted to rub out.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s an unschooled quality to Jiménez Chino’s earliest renderings; they are simple, even childlike, while never defaulting to “rough” or quaint. With his cavalcade of carefully outlined figures and fine attention to both detail and overall composition, he ensures that scene after scene surges to life. In \u003cem>El Festival del Pueblo (The Town Festival)\u003c/em>, a painting from 1987, golden trumpets pop with tints that suggest brash, sculpted sounds emerging from those instruments.\u003c/p>\n\n\n\n\u003cp>His bright acrylic colors (trees in hallucinatory fuchsia pastels or deep, saturated greens; glowing orange and yellow clothing) are most frequently painted onto handmade “amate” paper, traditionally crafted in San Pablito Pahuatlán, in the state of Pueblo. (The material was banned in the era of Spanish colonialism). The distinct amate texture is inviting, with each sheet irregularly shaped by wavy surfaces and edges. The landscapes portrayed suggest antique maps, or portals to some mythical paradise.\u003c/p>\n\n\n\n\u003cp>Part of that feeling comes from the meticulous harmoniousness of Jiménez Chino’s creations. His compositions manage to pack in figures while maintaining spaciousness amid green hills and mountains, startling blue rivers and skies. Fecund landscapes with tidy gardens and larger-than-life animal inhabitants enliven seductively idealized settings. Even in scenes bursting with crowds and momentous events, there’s always a sense that much lies beyond what’s depicted.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Ti%CC%81o-Konejoh-y-la-mun%CC%83eca-de-cera-ilustracio%CC%81n-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg\" alt=\"\" class=\"wp-image-13989990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/012_Tío-Konejoh-y-la-muñeca-de-cera-ilustración-1-Uncle-Rabbit-the-Wax-Doll_-Plate-1_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Inocencio Jiménez Chino, ‘Tío Konejoh y la muñeca de cera, ilustración 1’ (Uncle Rabbit & the Wax Doll: Plate 1), 2013; acrylic on handmade amate, 15 x 23 inches. (Courtesy of Catalyst Contemporary)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though not as immediately arresting as his more colorful painted work, three prints from a series of Jiménez Chino’s large black ink drawings are also on exhibit. These were part of an Indigenous-organized campaign comprising two dozen Nahuatl-speaking communities along the Balsas River who protested a massive proposed hydroelectric dam in the early 1990s. Their successful opposition to the project was a cultural and political victory, maintaining their territorial rights and their say over local resources. In the series, Jiménez Chino depicts busy scenes of ordinary life alongside determined mass mobilization — \u003cem>Vida en paz y armonía con la naturaleza \u003c/em>(\u003cem>Living in peace and harmony with nature\u003c/em>) and \u003cem>Protesta contra la represa \u003c/em>(\u003cem>Protesting the dam\u003c/em>), respectively.\u003c/p>\n\n\n\n\u003cp>Similarly, other scenes of woe and strife — his 2025 painting \u003cem>Conflicto agrario \u003c/em>(\u003cem>Agrarian Conflict\u003c/em>) regards a land dispute between neighbors — are presented as part of life’s ongoing larger tableaux. Jiménez Chino shows a people pursuing centuries-old forms of livelihood and pleasure, despite the impacts of modernity. His great skill is not in his depictions of the paradisical or of the everyday — it is in his combination of the two in one worldview. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/aztec-stories-in-modern-mexico\">Aztec Stories in Modern Mexico: An Inocencio Jiménez Chino Retrospective\u003c/a>’ is on view through June 28, 2026 at the Bedford Gallery at the Lesher Center for the Arts (1601 Civic Dr., Walnut Creek).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "17 Bay Area Arts Groups Receive Grants for Further Triennial Shows",
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"content": "\u003cp>Back in September 2024, when the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a> was first announced, the coordinated program of exhibitions and events seemed awfully far away. Now, March 10–June 10, 2027 is just around the corner, and the much-anticipated finer details of this celebration of Bay Area art — past and present — are finally coming into focus.\u003c/p>\n\u003cp>Today, the triennial announced 17 recipients of its Community Impact Fund: grants of $20,000 each for arts organizations with QTBIPOC leadership and operating budgets under $2 million. The funds help ensure that smaller projects and spaces can participate in the triennial, alongside major players like the San Francisco Museum of Modern Art and the Oakland Museum of California.\u003c/p>\n\u003cp>[aside postID='arts_13965626' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240820_BMalone_FurtherTriennial_COVER-1020x574.jpg']Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September 2024, when the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a> was first announced, the coordinated program of exhibitions and events seemed awfully far away. Now, March 10–June 10, 2027 is just around the corner, and the much-anticipated finer details of this celebration of Bay Area art — past and present — are finally coming into focus.\u003c/p>\n\u003cp>Today, the triennial announced 17 recipients of its Community Impact Fund: grants of $20,000 each for arts organizations with QTBIPOC leadership and operating budgets under $2 million. The funds help ensure that smaller projects and spaces can participate in the triennial, alongside major players like the San Francisco Museum of Modern Art and the Oakland Museum of California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before she became a screenwriter and author, \u003ca href=\"https://www.nellynellproductions.com/\">Janell Grace\u003c/a> worked as a case manager in juvenile hall, and she saw firsthand the effects that unprocessed trauma had on young people. “I didn’t like how they saw themselves,” she says.\u003c/p>\n\u003cp>Grace wanted to tell a story that could help the youth she worked with dream bigger, so she teamed up with one of her best friends from college, Malik Glass, to write a screenplay for a short film that could help destigmatize mental health. The result was 2022’s \u003ci>Love Conquers All\u003c/i>, which the two writers have turned into a graphic novel in collaboration with illustrator Eli Beaird. The third installment of the book comes out May 16, with a \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">release party in Oakland\u003c/a>. [aside postid='arts_13989248']\u003c/p>\n\u003cp>\u003ci>Love Conquers All\u003c/i> tells the story of Kennedy, a young Black man whose family settled in Oakland from New Orleans in the aftermath of Hurricane Katrina. As Kennedy studies to become a chef, he’s grief-stricken from his sister Faith’s death and haunted by memories of their childhood in foster care. Kennedy starts to withdraw, and his girlfriend Rose pressures him to get help.\u003c/p>\n\u003cp>“Before the good happens, the bad has to happen, so you see that transition from him crashing out,” Grace says.\u003c/p>\n\u003cp>The latest edition of \u003ci>Love Conquers All\u003c/i> deals with flashbacks to Kennedy’s brush with gun violence when he was a child, an experience he’s attempting to process in therapy as he navigates a major opportunity that could take his cooking career to the next level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” [aside postid='arts_13989273']\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before she became a screenwriter and author, \u003ca href=\"https://www.nellynellproductions.com/\">Janell Grace\u003c/a> worked as a case manager in juvenile hall, and she saw firsthand the effects that unprocessed trauma had on young people. “I didn’t like how they saw themselves,” she says.\u003c/p>\n\u003cp>Grace wanted to tell a story that could help the youth she worked with dream bigger, so she teamed up with one of her best friends from college, Malik Glass, to write a screenplay for a short film that could help destigmatize mental health. The result was 2022’s \u003ci>Love Conquers All\u003c/i>, which the two writers have turned into a graphic novel in collaboration with illustrator Eli Beaird. The third installment of the book comes out May 16, with a \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">release party in Oakland\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Love Conquers All\u003c/i> tells the story of Kennedy, a young Black man whose family settled in Oakland from New Orleans in the aftermath of Hurricane Katrina. As Kennedy studies to become a chef, he’s grief-stricken from his sister Faith’s death and haunted by memories of their childhood in foster care. Kennedy starts to withdraw, and his girlfriend Rose pressures him to get help.\u003c/p>\n\u003cp>“Before the good happens, the bad has to happen, so you see that transition from him crashing out,” Grace says.\u003c/p>\n\u003cp>The latest edition of \u003ci>Love Conquers All\u003c/i> deals with flashbacks to Kennedy’s brush with gun violence when he was a child, an experience he’s attempting to process in therapy as he navigates a major opportunity that could take his cooking career to the next level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "visual-art-summer-guide-2026-museum-gallery-shows",
"title": "The 10 Best Museum and Gallery Shows to See in the Bay Area This Summer",
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"content": "\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Five months into 2026, a lot has happened in the Bay Area’s visual art scene. \u003ca href=\"https://www.kqed.org/arts/13985359/california-college-of-the-arts-closing-vanderbilt-university\">Devastating closures\u003c/a> were \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">announced\u003c/a>, \u003ca href=\"https://www.betterbayarea.org/rally_for_the_arts_at_city_hall\">rallies\u003c/a> were held, \u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">artists joined forces\u003c/a> to advocate for community centers and their funding. Oakland hired a \u003ca href=\"https://oaklandside.org/2026/01/27/oakland-names-cultural-affairs-manager-lyz-luke/\">cultural affairs director\u003c/a>. San Francisco hired an \u003ca href=\"https://www.kqed.org/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job\">executive director of arts and culture\u003c/a>. Many of us learned about the nuances of \u003ca href=\"https://missionlocal.org/2026/03/daniel-lurie-city-charter-san-francisco-consolidation/\">city charter reform\u003c/a>.\u003c/p>\n\u003cp>All the while, artists continued to plug away in the face of complex bureaucratic shenanigans. And now, we have a summer full of the fruits of their labor: well-deserved museum exhibitions; exciting gallery solos; and residency open houses that offer art-lovers the bragging rights of seeing projects in their early stages. See you out there!\u003c/p>\n\u003cfigure id=\"attachment_13989197\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg\" alt=\"abstract muted painting with greenery on two panels\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13989197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘healers,’ 2026; Pigment, crystalina, and UV inkjet print on silk sari on linen, 60 x 60 inches. \u003ccite>(Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ranu Mukherjee, ‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/112-ranu-mukherjee-the-long-middle/\">The Long Middle\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 20–July 3, 2026\u003cbr>\nGallery Wendi Norris, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a>, a longtime Bay Area artist and educator who recently decamped to Southern California, returns to San Francisco for her sixth solo show at Gallery Wendi Norris. \u003ci>The Long Middle\u003c/i> will include eight new paintings in Mukherjee’s complex, layered style. Her materials — pigment, crystalina (iridescent glitter), ink, chalk pastel, inkjet print — sit on top of and blend into patterned grounds created with cotton jamdani and silk sari textiles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her abstract, dreamy renderings of plants, animals and interior spaces convey a sense of constant movement and change. The eye cannot quite fix on a foreground, or an order of operations. Instead, Mukherjee presents fragmented, entropic ecosystems, fitting depictions of our current state of environmental, social and political affairs.\u003c/p>\n\u003cfigure id=\"attachment_13989242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg\" alt=\"underwater image of adult arms and swimming child\" width=\"2000\" height=\"1293\" class=\"size-full wp-image-13989242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Larry Sultan, ‘Untitled,’ from the series ‘Swimmers,’ 1978–82; pigment print. \u003ccite>(Courtesy Casemore Gallery and Estate of Larry Sultan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/slice-of-the-pie-2026\">Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 28–Aug. 15, 2026\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>After an onslaught of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery closures\u003c/a> in 2025, this generous group exhibition takes stock of the Bay Area’s commercial landscape and finds reason to be optimistic. Featuring the Bay Area’s “most influential and idiosyncratic” art galleries, and displaying more than 40 artists, \u003ci>Slice of the Pie\u003c/i> includes both the time-honored (Crown Point Press, founded in 1962) and the young upstarts (Jonathan Carver Moore, founded in 2023). \u003c/p>\n\u003cp>The very premise of the show reflects the collaboration that has always shaped the Bay Area scene, where chairs are loaned for artist talks, openings are timed to coincide, and gallerists understand they don’t have to exist in a zero-sum game. Come for familiar faces, new artistic discoveries and a heap of wholesomeness that feels very Fraenkel.\u003c/p>\n\u003cfigure id=\"attachment_13989450\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg\" alt=\"ceramic sculpture of green-spotted hands with black tubing tangled around\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Nuwa with Soy Sauce,’ 2023; Porcelain and glaze, water pump, tubing, soy sauce, gold screws and washers, 48 × 40 × 40 in. \u003ccite>(Photo by David Torralva; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://personalspace.space/\">Giant Steps\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 31–July 19, 2026\u003cbr>\n\u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a>, Vallejo\u003c/i>\u003c/p>\n\u003cp>For this show, itinerant ceramicist and erstwhile Bay Area denizen \u003ca href=\"https://www.renieldelrosario.com/\">Reniel Del Rosario\u003c/a> gathers artists using clay in a way that makes you question “why do this this way?” (I’m paraphrasing here.) Artists include Fred DeWitt, Sahar Khoury, Cathy Lu and six others making work that joyfully, playfully, precariously stretches the limits of their chosen material. \u003c/p>\n\u003cp>The exhibition is a smaller-scale, more intimate take on \u003ci>\u003ca href=\"https://rcwg.scrippscollege.edu/blog/exhibitions/81st-scripps-college-ceramic-annual-means-to-an-end/\">Means to an End\u003c/a>\u003c/i>, aka the 81st Scripps College Ceramic Annual (the longest continuous exhibition of contemporary ceramics in the country), a maximalist show curated by Del Rosario earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13989448\" class=\"wp-caption aligncenter\" style=\"max-width: 1777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg\" alt=\"painting of cat in sunbeam under table\" width=\"1777\" height=\"2000\" class=\"size-full wp-image-13989448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-768x864.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-1365x1536.jpg 1365w\" sizes=\"auto, (max-width: 1777px) 100vw, 1777px\">\u003cfigcaption class=\"wp-caption-text\">Will Yackulic, ‘Winter Sun,’ 2026; Oil on wood panel, 9 x 7.25 inches framed. \u003ccite>(pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.part2gallery.com/upcoming/willyackulic/2026\">Will Yackulic\u003c/a>, ‘A Certain Slant of Light’\u003c/h2>\n\u003cp>\u003ci>June 6–July 18, 2026\u003cbr>\npt.2, Oakland\u003c/i>\u003c/p>\n\u003cp>A friend recently pulled his small, perfect \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">Will Yackulic\u003c/a> painting out of its wrapping and I have rarely been filled with so much covetous envy. \u003ci>Not fair!\u003c/i> I thought. Then I remembered that my eyeballs would soon be treated to a full show of Yackulic’s satisfyingly rendered, delicate observations of daily life. \u003c/p>\n\u003cp>A poetic sample platter of previous paintings, to whet our collective appetite for June: a grocery display of fruit, drenched in gold; a quickly painted assortment of beach detritus; light falling across the electric blue shadows of a picket fence. \u003c/p>\n\u003cfigure id=\"attachment_13989199\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg\" alt=\"beaded artwork of person with hands at head, densely covered in shells and tassels\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Demetri Broxton, ‘Still Waters Run Deep,’ 2025; Japanese & Czech glass beads, sequins, cowrie shells, quartz, pressed glass, wooden beads, brass, silver, rayon chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board, 40 x 25 x 1 inches. \u003ccite>(Courtesy of the artist and MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Demetri Broxton, ‘\u003ca href=\"https://www.moadsf.org/exhibitions/ancestral-echoes\">Ancestral Echoes — Crops of Empire\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 10–Aug. 16, 2026\u003cbr>\nMuseum of the African Diaspora, San Francisco\u003c/i>\u003c/p>\n\u003cp>For a decade, MoAD’s Emerging Artist Program has introduced audiences to Bay Area artists on the cusp of wider recognition. Selected artists get a three-month show at the museum; audiences get to say “we saw them back when.” Next on the schedule (after Jasmine Ross’ photo show \u003ci>\u003ca href=\"https://www.moadsf.org/exhibitions/beauty-plus\">Beauty Plus\u003c/a>\u003c/i>) is Demetri Broxton, a mixed media artist who is also somehow the executive director of the arts nonprofit \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a>. \u003c/p>\n\u003cp>In group presentations over the past few years, Broxton’s work has stood out for its density and tactility. With \u003ci>Ancestral Echoes\u003c/i>, he adorns archival photographs, printed on fabric, with sequins, beads, shells and tassels. Loosed from history, black-and-white images become ritual objects that shimmer and sparkle, full of the potential for liveliness — or at least sound and movement — once again.\u003c/p>\n\u003cfigure id=\"attachment_13989198\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg\" alt=\"image of Black woman collaged onto $100 bill\" width=\"1024\" height=\"436\" class=\"size-full wp-image-13989198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-768x327.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Untitled,’ 1975; Photo collage and screen print on paper. \u003ccite>(Courtesy of The Mildred Howard Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mildred Howard, ‘\u003ca href=\"https://museumca.org/on-view/mildred-howard-poetics-of-memory/\">Poetics of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 11, 2026\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>It seems impossible that this is the first major museum exhibition for local luminary \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>. And at the same time, thank goodness Howard and us — the current residents of the Bay Area — are here for this! Over the past five decades, Howard has moved between mediums (collage, found-object sculptures, installations, public art), creating a lyrical and materially inventive body of work. Even when artworks come from very personal sources, like a rediscovered 8mm film she shot as a teenager, Howard elegantly abstracts and extrapolates, pulling together both far-reaching histories and present-day realities. Current contender for show of the year.\u003c/p>\n\u003cfigure id=\"attachment_13989217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg\" alt=\"A tall fence made of white fabric snakes across arid farmland hills\" width=\"1200\" height=\"875\" class=\"size-full wp-image-13989217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-768x560.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Running Fence’ spanned more than 20 miles across Sonoma and Marin Counties — and was on view for just two weeks. \u003ccite>(Jean-Claude/Courtesy Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Christo and Jeanne-Claude, ‘\u003ca href=\"https://museumsc.org/upcoming-exhibitions/\">Running Fence at 50 Years\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 27–Nov. 8, 2026\u003cbr>\nMuseum of Sonoma County, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>The installation is now legendary: the husband-and-wife duo, who had previously wrapped art institutions and monuments, and covered a million square feet of the Australian coast in fabric, worked for four years to erect a 24.5-mile-long fabric fence across the hills of Sonoma and Marin. \u003c/p>\n\u003cp>It took 18 public hearings, three sessions of the Superior Courts of California, a 450-page environmental impact report and the permission of 59 ranchers. (Much of this often-contentious process is documented in the fantastic Maysles brothers’ documentary \u003ci>\u003ca href=\"https://www.criterionchannel.com/running-fence\">Running Fence\u003c/a>\u003c/i>.) Finally, in 1976, the graceful, undulating, white strip of demarcation was installed. It remained on view for just 14 days. The Museum of Sonoma County transports visitors back to this monumental and ephemeral undertaking. And if it all seems like just yesterday, they’re \u003ca href=\"https://form.jotform.com/260627520652151\">currently soliciting\u003c/a> firsthand accounts!\u003c/p>\n\u003cfigure id=\"attachment_13980309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg\" alt=\"crowd seated on outdoor steps watching electronic music performance\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Spring Open House 2025 at Headlands Center for the Arts. \u003ccite>(Tom Idle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Residency open houses\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.headlands.org/event/summer-open-house-2026/\">Summer Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 19, 12–5 p.m.\u003cbr>\nHeadlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.winslowhouseproject.org/visit-1/january-25-en2pw-bkf7d-wbwya-mfwal\">July 2026 Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 26, 3–7 p.m.\u003cbr>\nWinslow House Project, Vallejo\u003c/i>\u003c/p>\n\u003cp>As much as art benefits from a formal presentation within white walls, there’s something extra special about glimpsing in-progress work at the site of its making. Two local residencies offer opportunities to tour their grounds (one a former military site in the Marin Headlands, the other a grand, historic farmhouse in the heart of Vallejo) and mingle with artists in residence. Expect screenings, performances, tasty foodstuffs and time well spent. \u003c/p>\n\u003cfigure id=\"attachment_13989240\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg\" alt=\"a spread of socket wrenches arranged in an arc\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, inspiration image from ‘Las Frutas del Labor,’ 2026. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marcel Pardo Ariza, ‘\u003ca href=\"https://bampfa.org/program/art-wall-marcel-pardo-ariza-las-frutas-del-labor\">Las Frutas del Labor\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 5, 2026–July 11, 2027\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>It’s been 10 years since BAMPFA moved to its Center Street location, and one of the enduring benefits of this site (in addition to easy BART access, red stairwells and great programming), is the museum’s Art Wall. The 63-foot-wide space has hosted \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">urgent statements\u003c/a>, \u003ca href=\"https://bampfa.org/program/art-wall-stephanie-syjuco-present-tense-roll-call\">pointed investigations\u003c/a> and “murals” that stretch \u003ca href=\"https://bampfa.org/program/art-wall-terri-friedman\">well beyond\u003c/a> paint on drywall. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The next installation, an homage to art handlers, comes from Oakland artist \u003ca href=\"https://www.kqed.org/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf\">Marcel Pardo Ariza\u003c/a>. Together with Ambrose Trataris, Ariza is co-founder of \u003ca href=\"https://www.arthandlxrs.com/\">Arthandlxrs*\u003c/a>, an organization and publication that advocates for marginalized communities within the profession — an often-invisible but vitally important role in the presentation and appreciation of art. Expect some meta-moments; I’m sure BAMPFA art handlers will have their hands (literally) in the mix.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Five months into 2026, a lot has happened in the Bay Area’s visual art scene. \u003ca href=\"https://www.kqed.org/arts/13985359/california-college-of-the-arts-closing-vanderbilt-university\">Devastating closures\u003c/a> were \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">announced\u003c/a>, \u003ca href=\"https://www.betterbayarea.org/rally_for_the_arts_at_city_hall\">rallies\u003c/a> were held, \u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">artists joined forces\u003c/a> to advocate for community centers and their funding. Oakland hired a \u003ca href=\"https://oaklandside.org/2026/01/27/oakland-names-cultural-affairs-manager-lyz-luke/\">cultural affairs director\u003c/a>. San Francisco hired an \u003ca href=\"https://www.kqed.org/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job\">executive director of arts and culture\u003c/a>. Many of us learned about the nuances of \u003ca href=\"https://missionlocal.org/2026/03/daniel-lurie-city-charter-san-francisco-consolidation/\">city charter reform\u003c/a>.\u003c/p>\n\u003cp>All the while, artists continued to plug away in the face of complex bureaucratic shenanigans. And now, we have a summer full of the fruits of their labor: well-deserved museum exhibitions; exciting gallery solos; and residency open houses that offer art-lovers the bragging rights of seeing projects in their early stages. See you out there!\u003c/p>\n\u003cfigure id=\"attachment_13989197\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg\" alt=\"abstract muted painting with greenery on two panels\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13989197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘healers,’ 2026; Pigment, crystalina, and UV inkjet print on silk sari on linen, 60 x 60 inches. \u003ccite>(Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ranu Mukherjee, ‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/112-ranu-mukherjee-the-long-middle/\">The Long Middle\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 20–July 3, 2026\u003cbr>\nGallery Wendi Norris, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a>, a longtime Bay Area artist and educator who recently decamped to Southern California, returns to San Francisco for her sixth solo show at Gallery Wendi Norris. \u003ci>The Long Middle\u003c/i> will include eight new paintings in Mukherjee’s complex, layered style. Her materials — pigment, crystalina (iridescent glitter), ink, chalk pastel, inkjet print — sit on top of and blend into patterned grounds created with cotton jamdani and silk sari textiles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her abstract, dreamy renderings of plants, animals and interior spaces convey a sense of constant movement and change. The eye cannot quite fix on a foreground, or an order of operations. Instead, Mukherjee presents fragmented, entropic ecosystems, fitting depictions of our current state of environmental, social and political affairs.\u003c/p>\n\u003cfigure id=\"attachment_13989242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg\" alt=\"underwater image of adult arms and swimming child\" width=\"2000\" height=\"1293\" class=\"size-full wp-image-13989242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Larry Sultan, ‘Untitled,’ from the series ‘Swimmers,’ 1978–82; pigment print. \u003ccite>(Courtesy Casemore Gallery and Estate of Larry Sultan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/slice-of-the-pie-2026\">Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 28–Aug. 15, 2026\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>After an onslaught of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery closures\u003c/a> in 2025, this generous group exhibition takes stock of the Bay Area’s commercial landscape and finds reason to be optimistic. Featuring the Bay Area’s “most influential and idiosyncratic” art galleries, and displaying more than 40 artists, \u003ci>Slice of the Pie\u003c/i> includes both the time-honored (Crown Point Press, founded in 1962) and the young upstarts (Jonathan Carver Moore, founded in 2023). \u003c/p>\n\u003cp>The very premise of the show reflects the collaboration that has always shaped the Bay Area scene, where chairs are loaned for artist talks, openings are timed to coincide, and gallerists understand they don’t have to exist in a zero-sum game. Come for familiar faces, new artistic discoveries and a heap of wholesomeness that feels very Fraenkel.\u003c/p>\n\u003cfigure id=\"attachment_13989450\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg\" alt=\"ceramic sculpture of green-spotted hands with black tubing tangled around\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Nuwa with Soy Sauce,’ 2023; Porcelain and glaze, water pump, tubing, soy sauce, gold screws and washers, 48 × 40 × 40 in. \u003ccite>(Photo by David Torralva; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://personalspace.space/\">Giant Steps\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 31–July 19, 2026\u003cbr>\n\u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a>, Vallejo\u003c/i>\u003c/p>\n\u003cp>For this show, itinerant ceramicist and erstwhile Bay Area denizen \u003ca href=\"https://www.renieldelrosario.com/\">Reniel Del Rosario\u003c/a> gathers artists using clay in a way that makes you question “why do this this way?” (I’m paraphrasing here.) Artists include Fred DeWitt, Sahar Khoury, Cathy Lu and six others making work that joyfully, playfully, precariously stretches the limits of their chosen material. \u003c/p>\n\u003cp>The exhibition is a smaller-scale, more intimate take on \u003ci>\u003ca href=\"https://rcwg.scrippscollege.edu/blog/exhibitions/81st-scripps-college-ceramic-annual-means-to-an-end/\">Means to an End\u003c/a>\u003c/i>, aka the 81st Scripps College Ceramic Annual (the longest continuous exhibition of contemporary ceramics in the country), a maximalist show curated by Del Rosario earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13989448\" class=\"wp-caption aligncenter\" style=\"max-width: 1777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg\" alt=\"painting of cat in sunbeam under table\" width=\"1777\" height=\"2000\" class=\"size-full wp-image-13989448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-768x864.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-1365x1536.jpg 1365w\" sizes=\"auto, (max-width: 1777px) 100vw, 1777px\">\u003cfigcaption class=\"wp-caption-text\">Will Yackulic, ‘Winter Sun,’ 2026; Oil on wood panel, 9 x 7.25 inches framed. \u003ccite>(pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.part2gallery.com/upcoming/willyackulic/2026\">Will Yackulic\u003c/a>, ‘A Certain Slant of Light’\u003c/h2>\n\u003cp>\u003ci>June 6–July 18, 2026\u003cbr>\npt.2, Oakland\u003c/i>\u003c/p>\n\u003cp>A friend recently pulled his small, perfect \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">Will Yackulic\u003c/a> painting out of its wrapping and I have rarely been filled with so much covetous envy. \u003ci>Not fair!\u003c/i> I thought. Then I remembered that my eyeballs would soon be treated to a full show of Yackulic’s satisfyingly rendered, delicate observations of daily life. \u003c/p>\n\u003cp>A poetic sample platter of previous paintings, to whet our collective appetite for June: a grocery display of fruit, drenched in gold; a quickly painted assortment of beach detritus; light falling across the electric blue shadows of a picket fence. \u003c/p>\n\u003cfigure id=\"attachment_13989199\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg\" alt=\"beaded artwork of person with hands at head, densely covered in shells and tassels\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Demetri Broxton, ‘Still Waters Run Deep,’ 2025; Japanese & Czech glass beads, sequins, cowrie shells, quartz, pressed glass, wooden beads, brass, silver, rayon chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board, 40 x 25 x 1 inches. \u003ccite>(Courtesy of the artist and MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Demetri Broxton, ‘\u003ca href=\"https://www.moadsf.org/exhibitions/ancestral-echoes\">Ancestral Echoes — Crops of Empire\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 10–Aug. 16, 2026\u003cbr>\nMuseum of the African Diaspora, San Francisco\u003c/i>\u003c/p>\n\u003cp>For a decade, MoAD’s Emerging Artist Program has introduced audiences to Bay Area artists on the cusp of wider recognition. Selected artists get a three-month show at the museum; audiences get to say “we saw them back when.” Next on the schedule (after Jasmine Ross’ photo show \u003ci>\u003ca href=\"https://www.moadsf.org/exhibitions/beauty-plus\">Beauty Plus\u003c/a>\u003c/i>) is Demetri Broxton, a mixed media artist who is also somehow the executive director of the arts nonprofit \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a>. \u003c/p>\n\u003cp>In group presentations over the past few years, Broxton’s work has stood out for its density and tactility. With \u003ci>Ancestral Echoes\u003c/i>, he adorns archival photographs, printed on fabric, with sequins, beads, shells and tassels. Loosed from history, black-and-white images become ritual objects that shimmer and sparkle, full of the potential for liveliness — or at least sound and movement — once again.\u003c/p>\n\u003cfigure id=\"attachment_13989198\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg\" alt=\"image of Black woman collaged onto $100 bill\" width=\"1024\" height=\"436\" class=\"size-full wp-image-13989198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-768x327.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Untitled,’ 1975; Photo collage and screen print on paper. \u003ccite>(Courtesy of The Mildred Howard Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mildred Howard, ‘\u003ca href=\"https://museumca.org/on-view/mildred-howard-poetics-of-memory/\">Poetics of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 11, 2026\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>It seems impossible that this is the first major museum exhibition for local luminary \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>. And at the same time, thank goodness Howard and us — the current residents of the Bay Area — are here for this! Over the past five decades, Howard has moved between mediums (collage, found-object sculptures, installations, public art), creating a lyrical and materially inventive body of work. Even when artworks come from very personal sources, like a rediscovered 8mm film she shot as a teenager, Howard elegantly abstracts and extrapolates, pulling together both far-reaching histories and present-day realities. Current contender for show of the year.\u003c/p>\n\u003cfigure id=\"attachment_13989217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg\" alt=\"A tall fence made of white fabric snakes across arid farmland hills\" width=\"1200\" height=\"875\" class=\"size-full wp-image-13989217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-768x560.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Running Fence’ spanned more than 20 miles across Sonoma and Marin Counties — and was on view for just two weeks. \u003ccite>(Jean-Claude/Courtesy Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Christo and Jeanne-Claude, ‘\u003ca href=\"https://museumsc.org/upcoming-exhibitions/\">Running Fence at 50 Years\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 27–Nov. 8, 2026\u003cbr>\nMuseum of Sonoma County, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>The installation is now legendary: the husband-and-wife duo, who had previously wrapped art institutions and monuments, and covered a million square feet of the Australian coast in fabric, worked for four years to erect a 24.5-mile-long fabric fence across the hills of Sonoma and Marin. \u003c/p>\n\u003cp>It took 18 public hearings, three sessions of the Superior Courts of California, a 450-page environmental impact report and the permission of 59 ranchers. (Much of this often-contentious process is documented in the fantastic Maysles brothers’ documentary \u003ci>\u003ca href=\"https://www.criterionchannel.com/running-fence\">Running Fence\u003c/a>\u003c/i>.) Finally, in 1976, the graceful, undulating, white strip of demarcation was installed. It remained on view for just 14 days. The Museum of Sonoma County transports visitors back to this monumental and ephemeral undertaking. And if it all seems like just yesterday, they’re \u003ca href=\"https://form.jotform.com/260627520652151\">currently soliciting\u003c/a> firsthand accounts!\u003c/p>\n\u003cfigure id=\"attachment_13980309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg\" alt=\"crowd seated on outdoor steps watching electronic music performance\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Spring Open House 2025 at Headlands Center for the Arts. \u003ccite>(Tom Idle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Residency open houses\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.headlands.org/event/summer-open-house-2026/\">Summer Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 19, 12–5 p.m.\u003cbr>\nHeadlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.winslowhouseproject.org/visit-1/january-25-en2pw-bkf7d-wbwya-mfwal\">July 2026 Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 26, 3–7 p.m.\u003cbr>\nWinslow House Project, Vallejo\u003c/i>\u003c/p>\n\u003cp>As much as art benefits from a formal presentation within white walls, there’s something extra special about glimpsing in-progress work at the site of its making. Two local residencies offer opportunities to tour their grounds (one a former military site in the Marin Headlands, the other a grand, historic farmhouse in the heart of Vallejo) and mingle with artists in residence. Expect screenings, performances, tasty foodstuffs and time well spent. \u003c/p>\n\u003cfigure id=\"attachment_13989240\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg\" alt=\"a spread of socket wrenches arranged in an arc\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, inspiration image from ‘Las Frutas del Labor,’ 2026. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marcel Pardo Ariza, ‘\u003ca href=\"https://bampfa.org/program/art-wall-marcel-pardo-ariza-las-frutas-del-labor\">Las Frutas del Labor\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 5, 2026–July 11, 2027\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>It’s been 10 years since BAMPFA moved to its Center Street location, and one of the enduring benefits of this site (in addition to easy BART access, red stairwells and great programming), is the museum’s Art Wall. The 63-foot-wide space has hosted \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">urgent statements\u003c/a>, \u003ca href=\"https://bampfa.org/program/art-wall-stephanie-syjuco-present-tense-roll-call\">pointed investigations\u003c/a> and “murals” that stretch \u003ca href=\"https://bampfa.org/program/art-wall-terri-friedman\">well beyond\u003c/a> paint on drywall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next installation, an homage to art handlers, comes from Oakland artist \u003ca href=\"https://www.kqed.org/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf\">Marcel Pardo Ariza\u003c/a>. Together with Ambrose Trataris, Ariza is co-founder of \u003ca href=\"https://www.arthandlxrs.com/\">Arthandlxrs*\u003c/a>, an organization and publication that advocates for marginalized communities within the profession — an often-invisible but vitally important role in the presentation and appreciation of art. Expect some meta-moments; I’m sure BAMPFA art handlers will have their hands (literally) in the mix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During his \u003ca href=\"https://www.kqed.org/news/tag/caltrain\">Caltrain\u003c/a> commute from Gilroy to Palo Alto, Spencer Enriquez usually covers his face with his beanie to get some shut-eye before clocking into his day job as a graphic designer. From my personal observations as a fellow Caltrain commuter, he’s not alone.\u003c/p>\n\u003cp>Most commuters zone out with their headphones on, responding to emails, sitting through morning meetings or gazing out the window.\u003c/p>\n\u003cfigure id=\"attachment_13989284\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-2000x2500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1638x2048.jpg 1638w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Spencer Enriquez. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the beginning of this year, Enriquez had a different agenda for his Caltrain GoPass: use it to capture scenes from the South Bay and up the Peninsula to San Francisco.\u003c/p>\n\u003cp>“I just thought it’d be fun to utilize my train pass, hit various stops that I wouldn’t normally explore the areas of, and kind of familiarize myself with more of the Bay Area,” Enriquez told KQED.\u003c/p>\n\u003cp>He’ll showcase his findings at his solo exhibition, \u003ci>Off Track\u003c/i>, at San Jose Japantown’s \u003ca href=\"https://www.knowfuturegallery.org/\">Know Future Gallery\u003c/a>, on view May 9–June 6.\u003c/p>\n\u003cp>For three months, equipped with either his Canon SLR or Olympus 35SP and a backpack filled with snacks and extra film rolls, Enriquez spent his weekends driving up to the San Jose Diridon Caltrain station to embark on a day of exploration.\u003c/p>\n\u003cp>Some stops were planned — like when Caltrain had an event for Martin Luther King Jr. Day — but most of the time, Enriquez just went off of what was interesting to him.\u003c/p>\n\u003cp>“By the time I got home after each one, I was pretty beat,” Enriquez said. “I just walked a mile or so out, did loops, walked through neighborhoods, main streets, downtown. I let it go with the flow. Something would catch my eye and draw me in one direction and I would go that way.”\u003c/p>\n\u003cp>Many of Enriquez’s shots are of blink-and-you’ll-miss-it kind of moments: for example, a photo of an abandoned garage with a broken-down car near the Sunnyvale station. As a Sunnyvale resident myself, I’ve never taken notice of this spot, but it’s a site Enriquez wanted to explore after it caught his eye on his commutes.\u003c/p>\n\u003cfigure id=\"attachment_13989286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Enriquez documents Bay Area neighborhoods near Caltrain stations. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of Enriquez’s collection of photos focuses on just that — the small, everyday scenes we might not give a second glance as we gaze out the window — he also shows some tender moments of connection.\u003c/p>\n\u003cp>In one photo, we see a couple sitting down on a bench at a Caltrain stop, turned towards each other and holding hands. It’s a heartfelt moment that works to contrast the digital dependency often found in public transportation — people all connected online, but not to each other.[ad fullwidth]\u003c/p>\n\u003cp>This exhibition doesn’t show anything extraordinary, and that’s exactly the point. It depicts what slowing down looks like, paying attention to the life all around us that continues to exist even after the train passes by.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The opening reception of ‘\u003ca href=\"https://www.instagram.com/p/DVq8VmMERSj/\">Off Track\u003c/a>’ is on May 9 from 4–7 p.m. at Know Future Gallery (592 N 5th Street, San Jose). The exhibition runs through June 6.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During his \u003ca href=\"https://www.kqed.org/news/tag/caltrain\">Caltrain\u003c/a> commute from Gilroy to Palo Alto, Spencer Enriquez usually covers his face with his beanie to get some shut-eye before clocking into his day job as a graphic designer. From my personal observations as a fellow Caltrain commuter, he’s not alone.\u003c/p>\n\u003cp>Most commuters zone out with their headphones on, responding to emails, sitting through morning meetings or gazing out the window.\u003c/p>\n\u003cfigure id=\"attachment_13989284\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-2000x2500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/spencer-21-1638x2048.jpg 1638w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Spencer Enriquez. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the beginning of this year, Enriquez had a different agenda for his Caltrain GoPass: use it to capture scenes from the South Bay and up the Peninsula to San Francisco.\u003c/p>\n\u003cp>“I just thought it’d be fun to utilize my train pass, hit various stops that I wouldn’t normally explore the areas of, and kind of familiarize myself with more of the Bay Area,” Enriquez told KQED.\u003c/p>\n\u003cp>He’ll showcase his findings at his solo exhibition, \u003ci>Off Track\u003c/i>, at San Jose Japantown’s \u003ca href=\"https://www.knowfuturegallery.org/\">Know Future Gallery\u003c/a>, on view May 9–June 6.\u003c/p>\n\u003cp>For three months, equipped with either his Canon SLR or Olympus 35SP and a backpack filled with snacks and extra film rolls, Enriquez spent his weekends driving up to the San Jose Diridon Caltrain station to embark on a day of exploration.\u003c/p>\n\u003cp>Some stops were planned — like when Caltrain had an event for Martin Luther King Jr. Day — but most of the time, Enriquez just went off of what was interesting to him.\u003c/p>\n\u003cp>“By the time I got home after each one, I was pretty beat,” Enriquez said. “I just walked a mile or so out, did loops, walked through neighborhoods, main streets, downtown. I let it go with the flow. Something would catch my eye and draw me in one direction and I would go that way.”\u003c/p>\n\u003cp>Many of Enriquez’s shots are of blink-and-you’ll-miss-it kind of moments: for example, a photo of an abandoned garage with a broken-down car near the Sunnyvale station. As a Sunnyvale resident myself, I’ve never taken notice of this spot, but it’s a site Enriquez wanted to explore after it caught his eye on his commutes.\u003c/p>\n\u003cfigure id=\"attachment_13989286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/87440013-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Enriquez documents Bay Area neighborhoods near Caltrain stations. \u003ccite>(Courtesy of Spencer Enriquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While most of Enriquez’s collection of photos focuses on just that — the small, everyday scenes we might not give a second glance as we gaze out the window — he also shows some tender moments of connection.\u003c/p>\n\u003cp>In one photo, we see a couple sitting down on a bench at a Caltrain stop, turned towards each other and holding hands. It’s a heartfelt moment that works to contrast the digital dependency often found in public transportation — people all connected online, but not to each other.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This exhibition doesn’t show anything extraordinary, and that’s exactly the point. It depicts what slowing down looks like, paying attention to the life all around us that continues to exist even after the train passes by.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The opening reception of ‘\u003ca href=\"https://www.instagram.com/p/DVq8VmMERSj/\">Off Track\u003c/a>’ is on May 9 from 4–7 p.m. at Know Future Gallery (592 N 5th Street, San Jose). The exhibition runs through June 6.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "catchlight-photo-walk-san-francisco-mission-district",
"title": "Looking At The Ground: A Photo Walk Through Frisco",
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"content": "\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "etruscan-art-legion-of-honor-review-ancient-italy-roman",
"title": "Forget the Roman Empire — Think About the Etruscans Instead",
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"headTitle": "Forget the Roman Empire — Think About the Etruscans Instead | KQED",
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"content": "\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aids-memorial-quilt-photography-redigitization-san-leandro",
"title": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus",
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"headTitle": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus | KQED",
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"content": "\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>To volunteer with the AIDS Memorial Quilt redigitization project, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nearly 40 years after the project started, volunteers are rephotographing the 500,000-panel collaborative artwork.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>To volunteer with the AIDS Memorial Quilt redigitization project, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sfmoma-2026-seca-art-award-winners",
"title": "SFMOMA Announces Winners of 2026 SECA Art Award",
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"headTitle": "SFMOMA Announces Winners of 2026 SECA Art Award | KQED",
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"content": "\u003cp>Four Bay Area artists are the latest recipients of the \u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">San Francisco Museum of Modern Art\u003c/a>’s long-running SECA Art Award. The collaborative duo CrossLypka (Tyler Cross and Kyle Lypka), and solo artists Em Kettner and Chanell Stone will present their work in dedicated SFMOMA galleries for an exhibition that runs Dec. 12, 2026–May 30, 2027.\u003c/p>\n\u003cp>The awardees were selected by exhibition co-curators Alison Guh and Delphine Sims from \u003ca href=\"https://www.kqed.org/arts/13985855/sfmoma-seca-art-award-finalists-2026\">a finalist pool of 16\u003c/a>. (No one envies them this job.) The SECA Art Award, bestowed every two years, is meant to celebrate the work of local artists on their way to broader recognition. Like years past, the 2026 exhibition will be accompanied by a publication.\u003c/p>\n\u003cp>What should we expect from this year’s awardees?\u003c/p>\n\u003cp>[aside postID='arts_13960799,arts_13982211,arts_13899291' label='previous coverage']CrossLypka’s \u003ca href=\"https://www.kqed.org/arts/13960799/cross-lypka-tarantula-house-of-seiko-review\">airy ceramic work\u003c/a> is made through a back-and-forth process as the artistic and life partners hand off their sculptures to each other step by step. In the Oakland artists’ freestanding and wall-hanging pieces, muted, drippy glazes are punctuated by pools of rich color. As for the shapes, expect nods to architectural ornamentation, Rorschach-like mirroring and satisfying shifts in texture.\u003c/p>\n\u003cp>Richmond-based Kettner, who shows with a gallery in Los Angeles, but only recently had her \u003ca href=\"https://www.kqed.org/arts/13982211/em-kettner-cyrano-rebecca-camacho-presents-review\">first Bay Area solo\u003c/a> (at Rebecca Camacho Presents), has been working on small-scale sculptures and reliefs for over a decade. Using glazed ceramics, weaving and fine woodwork, Kettner creates vignettes of tender and lighthearted interdependence. Her artworks’ size — and delicacy — require close-up, near-private viewing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And last, but not least, Stone’s \u003ca href=\"https://www.kqed.org/arts/13899291/how-oakland-photographer-chanell-stone-is-reframing-nature-photography\">black-and-white photography\u003c/a>, often printed large-scale (96 by 80 inches!), finds poetic, quiet scenes in the midst of parks, gardens, backyards and other green spaces. Sometimes, the Oakland artist places herself in front of the camera. Other times, we see just footprints in a muddy riverbank. Stone’s work explores Blackness within the American landscape, moving between personal and historical spaces in a growing and beautiful catalog of images.\u003c/p>\n\u003cp>It’s a lot to look forward to. Fingers crossed the museum will maintain its tradition of making SECA shows free to visit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The 2026 SECA Art Award exhibition will be on view Dec. 12, 2026–May 30, 2027 on the second floor of the San Francisco Museum of Modern Art (151 3rd St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"excerpt": "CrossLypka, Em Kettner and Chanell Stone will show at the museum in December 2026.",
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"title": "SFMOMA Announces Winners of 2026 SECA Art Award | KQED",
"description": "CrossLypka, Em Kettner and Chanell Stone will show at the museum in December 2026.",
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"headline": "SFMOMA Announces Winners of 2026 SECA Art Award",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Four Bay Area artists are the latest recipients of the \u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">San Francisco Museum of Modern Art\u003c/a>’s long-running SECA Art Award. The collaborative duo CrossLypka (Tyler Cross and Kyle Lypka), and solo artists Em Kettner and Chanell Stone will present their work in dedicated SFMOMA galleries for an exhibition that runs Dec. 12, 2026–May 30, 2027.\u003c/p>\n\u003cp>The awardees were selected by exhibition co-curators Alison Guh and Delphine Sims from \u003ca href=\"https://www.kqed.org/arts/13985855/sfmoma-seca-art-award-finalists-2026\">a finalist pool of 16\u003c/a>. (No one envies them this job.) The SECA Art Award, bestowed every two years, is meant to celebrate the work of local artists on their way to broader recognition. Like years past, the 2026 exhibition will be accompanied by a publication.\u003c/p>\n\u003cp>What should we expect from this year’s awardees?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>CrossLypka’s \u003ca href=\"https://www.kqed.org/arts/13960799/cross-lypka-tarantula-house-of-seiko-review\">airy ceramic work\u003c/a> is made through a back-and-forth process as the artistic and life partners hand off their sculptures to each other step by step. In the Oakland artists’ freestanding and wall-hanging pieces, muted, drippy glazes are punctuated by pools of rich color. As for the shapes, expect nods to architectural ornamentation, Rorschach-like mirroring and satisfying shifts in texture.\u003c/p>\n\u003cp>Richmond-based Kettner, who shows with a gallery in Los Angeles, but only recently had her \u003ca href=\"https://www.kqed.org/arts/13982211/em-kettner-cyrano-rebecca-camacho-presents-review\">first Bay Area solo\u003c/a> (at Rebecca Camacho Presents), has been working on small-scale sculptures and reliefs for over a decade. Using glazed ceramics, weaving and fine woodwork, Kettner creates vignettes of tender and lighthearted interdependence. Her artworks’ size — and delicacy — require close-up, near-private viewing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And last, but not least, Stone’s \u003ca href=\"https://www.kqed.org/arts/13899291/how-oakland-photographer-chanell-stone-is-reframing-nature-photography\">black-and-white photography\u003c/a>, often printed large-scale (96 by 80 inches!), finds poetic, quiet scenes in the midst of parks, gardens, backyards and other green spaces. Sometimes, the Oakland artist places herself in front of the camera. Other times, we see just footprints in a muddy riverbank. Stone’s work explores Blackness within the American landscape, moving between personal and historical spaces in a growing and beautiful catalog of images.\u003c/p>\n\u003cp>It’s a lot to look forward to. Fingers crossed the museum will maintain its tradition of making SECA shows free to visit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The 2026 SECA Art Award exhibition will be on view Dec. 12, 2026–May 30, 2027 on the second floor of the San Francisco Museum of Modern Art (151 3rd St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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